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THE 



N EW MOVI E 



A TOWER MAGAZINE 



GABLE of the SEVEN FACES ty Frederick LCollins 

5^Vu A L^ s pk N s D ENT - CHATTERTON the CHARMER 
EDGAR WALLACE'S HOLLYWOOD DIARY 



JULY 
1932 

I O CENTS 

1 5* in Canada 



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1 

to 



YOU'RE probably like that, too! 
Just have to have good-looking 
lingerie. 

But the next time you don it— and 
cast a proud glance into the mirror- 
give your smile, your gums, your 
teeth— the once-over! 

Is anybody ever going to say about 
you: "H'm. Pretty girl. When she 
keeps her mouth shut." 

It's like this: you aren't attractive 
unless your teeth are brilliant and 
white. And good-looking teeth are 



IPANA 



absolutely dependent on the health 
and firmness of your gums. 

Your gums aren't firm and healthy. 

The soft foods of the present day 
and age don't stimulate your gums — 
give them enough work to do. And 
instead of staying firm and healthy, 
your gums gradually become flabby 
and weak-walled. They tend to bleed. 
You have "pink tooth brush". 

And "pink tooth brush" is more 
serious than it sounds. It can dull the 
teeth— make them look "foggy." 
And it often leads to gum troubles as 



serious as gingivitis and Vincent's 
disease and even the dread but far 
rarer pyorrhea. It may even endanger 
the soundness of your teeth. 

Clean your teeth with Ipana Tooth 
Paste. It keeps them brilliantly white 
and thoroughly clean. Then— each 
time — rub a little extra Ipana right 
into those weak, tender gums of yours. 
The ziratol in Ipana, with the mas- 
sage, firms the gums, and keeps them 
firm. "Pink tooth brush" disappears 
— and you need never be afraid to 
smile! 




The New Movie Magazine, July, 1932 



BRISTOL-MYERS CO., Dept. Y-72 
73 West Street, New York, N. Y. 
<-^> W"*l ■PF 1 Kindly send me a trial tube of IPANA TOOTH 

^^^ O ^Sw^^^ PASTE. Enclosed is a two-cent stamp to cover partly 

""•te^ CI — ■*• O ;«' .— ...■■ ^afi the cost of packing and mailing. 

^ ^ -^ 5 n /j/H Name. 

p^jj^ in a ^ 

: tt^ 00 ^ ya^^tM Street 

JzSzMlL 'i*0*^~~ Cit > State - 

COPR. 1932. BRISTOL-MYERS CO. 

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury 

3 



Largest Circulation of Any Screen Magazine in the World 
ON SALE THE 15th OF EACH MONTH IN WOOLWORTH STORES 

The New Movie 

ONE OF THE TOWER MAGAZINES 



HUGH WEIR, EDITORIAL DIRECTOR 

VOL. VI. No. 1 



VERNE PORTER, EXECUTIVE EDITOR 



By far the Greatest 
Issue of Any Film Mag- 
azine ever published 




EDGAR WALLACE 
Turn to page 20 



II '.■'/«- World 
GEORGE ADE 
Turn to page 30 




World 
ELSIE JANIS 
Turn to page 40 



Vndi iirmd rf 1'iuh noood 
WALLACE IRWIN 
Turn to page 43 




I!,./. World 
ADELA ROGERS 

ST. JOHNS 
Turn to page 27 



JIM TULLY 
Turn to page 41 




International 
TED COOK 
Turn to page 33 



Pach BroR. 
FREDERICK L. COLLINS 
Turn to page 34 



JULY. 1932 



Cover Design by McCLELLAND BARCLAY 



FEATURES 

I Was Never So Embarrassed 6 

The Girl I Wanted As told by Charlie Chaplin 8 

Unlucky at Love by Virginia Maxwell 10 

But Lupe is Lucky at Life 

Two Cats of Hollywood by Joan Tracy 12 

How I Met Charles Farrell by Elissa Landi 14 

Our Hollywood Kindergarten 16 

The Secrets of the Stars By Hester Robinson 1 8 

Edgar Wallace's Hollywood Diary 20 

Between Two Worlds by Herb Howe 24 

The story of Anna May Wong 

The Star with the Broken Heart by Adela Rogers St. Johns 27 

The tragedy of Ricardo Cortei 

Why We Scold the Movies by George Ade 30 

Gable of the Seven Faces by Frederick L. Collins 34 

The whys and wherefores of Clarlc Gable 

Adrienne Dore Chooses Clothes for Playtime 36 

Chatterton, the Charmer by Elsie Janis 40 

Chatterton, the Fighter by Jim Tully 41 

Togo's Scream Play by Wallace Irwin 43 

High-Hatting the King's English by E. Haldeman- Julius 51 

Hollywood on Parade 52 

Bachelor Quarters The Home of William Haines 56 



DEPARTMENTS 

Cook-Coo Gossip by Ted Cook 33 

The Bandwagon 44 

The Boulevardier Defends Garbo By Herb Howe 54 

Radio Rambles 60 

Forthcoming Films 64 



And: Music of the Sound Screen, 62; Accessories for Summer, 70; Play and Then 

Rest for Beauty, 71; Baked Beans a la Oliver, 68; Our Colonial House, 72; 

Hollywood Entertains, 69; Box Office Critics, 88 



Ivan St. Johns — Western Editor 



Published Monthly by TOWER MAGAZINES, Inc., Washington and South Aves., Dunellen, N. J. 
Executive and Editorial Offices: 55 Fifth Avenue, New York, N. Y. . . Home Office: 22 No. Franklin St., Wilkes-Barre, Pa. 

Copyright. 1932 (Ilec. U. 



OFFICERS 
Catherine McNelis, President 
Theodore Alexander, Treasurer 
Marie L. Featherstone, Secretary 



Pat. OfT.), by Tower Magazines, inc. 
in the United States and Canada. Subscription price in the 
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the Tost Office at Dunellen, X. J., as second-class matter under 
the Act of March 3, 1ST!). 1'rinted in U. S. A. Nothing that 
appears in The NEW MOVIB Magazine may be reprinted, either 
wholly or in part, without permission. Tower Magazines, file. 
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The New Movie Magazine, July, 1932 



// 



I was never so EMBARRASSED 



in 



ALL My Life! 



// 



For even the movie stars' 

faces get red — according to 

DICK MOOK and JACK JAMISON 



DID you ever go to a party? And 
happen to say. "Who is thai funny- 
looking woman over there?" And 
have the gentleman to whom you 
addressed the remark reply, "Oh, that's my 
u ife '.'" 

Did you ever put on your best clothes, go downtown 
and then, When you arrived there, suddenly discover 
that one of your socks was brown and the other black? 
Well, a lot of these embarrassing moments happen 
in Hollywood, too! So, cheer up. We of the multitude 
ire not the only one- that make bad breaks. For the 
movie stars, with all their savoir faire, make them 
too! And how! 

Some of the stories of the stars' social blunders have 
become classics in Hollywood. For example, the first 





"I nearly died," says 

Mary Brian (above), 

"but I think Buddy 

died several times." 



And can you imagine 
Neil Hamilton's em- 
barrassment whenGrace 
George slapped him — 
on the stage! 

Ptiolo by Hurrcll 



Photo in, Elmei Frye 



Did Joan Blondcll blush 
when she hugged that 
stranger? Well, did she! 



t ime .Monte Itlue went to 
New York and was in- 
vited to tea by a famous 
newspaper woman who 
wanted to interview 
him. Monte has hands 
the size of hams, and at 
the table he got his 
finger stuck in the han- 
dle of his teacup. Sweat- 
ing and inwardly curs- 
ing, he tried to work 
the darned thing loose, 
meanwhile keeping up a chatty, gay conversation. At 
length, all the tea was gone, and he could no longer fake 
lifting the cup to his mouth. He had to slide the thing 
down under the table, and break the handle off! And 
then, looking around the room innocently, ask, "My, 
my, my! Where on earth did my cup get to?" 

NOT that you have to go that far back to get some 
tales. Take Neil Hamilton's first appearance on the 
stage, before he was in pictures. He was playing with 
Grace George in an opus called "The Ruined 
Lady." At the end of the first act, he was sup- 
posed to offer Miss George his manly arm and 
ask, "May I take you in to dinner?" Simple? 
Sure! But so was Neil! He had heard, you see, 
of the fun actors have ad-libbing on the stage. 
Unfortunately for him, he had not heard of Miss 
George's temper. So one night, when the mo- 
ment came for him to speak the fateful words, 
he inquired, in tha most casual tone imaginable 
— "May I show you the goldfish?" 

Wham ! 

That slap Neil got on the cheek echoed through 
the house and made people outside in the street 
think that someone had dropped a piano. In- 
stead of the curtain falling upon the pair 
marching sedately in to dinner, it fell on an as- 
tonished Neil rubbing his jaw. 

OR take the evening Clark Gable had 
his first date with his best girl of 
the moment. It was some years ago, be- 
fore he was married, so there's no sense 
in telling who she was. But Clark was 
nerts, goofy, ga-ga, that-way and hay- 
wire about her. He had been trying to 
meet her for a long time, and finally he 
had been introduced, had asked her for 
a date, and she had told him to come out 
and spend an evening at her apartment. 
Clark devoted two hours 
to brushing his hair and 
getting his black tie to 
set just right, and 
showed up promptly on 
the tick of eight. The 
evening went off in per- 
fect style. It was all he 
could have dreamed, in 
the way of perfection, 
and more. 
(Please turn to page 104) 



The Neio Movie Magazine, July, 1932 



TBDE WASHQD/W E^IPEIRDERdCDE ©IF MRS. MAMAM! FAME 




-ALTOGETHER I WASHED 

323 PIECES SWEET AND 

CLEAN-DID THE DISHES 

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FOR OTHER CLEANING 




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clothes soak white as snow. You'll say goodbye forever to 
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Get the BIG package of Rinso. See 
how much work it will do for you. 

A PRODUCT OF LEVER BROTHERS CO. , 




Millions use Rinso in tub, washer and dishpan 



The New Movie Magazine, July, 1932 




The GIRL I WANTED 

As told to Rada Bercovici by CHARLIE CHAPLIN 



•'Don't ever miss out on anything when you are 

young," Charlie Chaplin said to me. "Take it when it 

ady for you, no matter what people tell you. Don t 

// you are older. I want to tell you about the 

igs I wanted, and about my first hundred dollais 

that 1 might have used to buy them." 

BECAUSE I waited too long for many things in 
life 1 am a failure. Not as an actor. I am a good 
actor. But there are many things I have missed. 
Things I wanted and could have had—a screen, a 
rug and a chair, and a girl to sit in the chair! 

Now that I can have them— so many of these things 
I wanted— I don't enjoy them. The happiness they once 
could have given me is lost. 

I remember when my brother Syd and I In ed in 
Paris when we both were young. We lived in a bare 
room over a store. I trudged home every night over a 
long distance, tired and lonely. Syd would never let me 



soend a few of my sous for a luxury such as carfare. 
P "You would be wasteful," Syd would say. "You must 
learn to save for a rainy day." +i„ OT „i 1 + 

Svd was the practical one. I adored him. I thought 
him wonderful. But, much as I loved him, there were 
times when I was resentful that I could not spend a few 
sous for fare on the creaking boards of the quaint 
wooden car that would have taken me home across 
Paris, from my hard day at clowning Often I dreamed 
of the time to come when I had saved enough to justify 
me in the wild extravagance of a ride home 

But months went by. Sou by sou, franc by franc, 1 
saved until my coins began to clink merrily And now 
I began to have other ambitions. I did not only want 
to ride home, but I dared to linger before the working- 
men's wine houses and listen to the talk and laughter 
inside and think of the time soon to come when I would 
have enough to go inside and buy a glass of wine for 
myself and join in the talk. (Please turn to page 106) 

The New Movie Magazine, July, 1932 



TOGETHER AGAIN 

in another 



Ever since beautiful Joan 
Crawford and Bob Mont 
goniery appeared to 
gether in "Our Blushing 
Brides" and "Untamed" 
we've been swamped 
with requests to co-star 
them again. You'll be 
delighted with the result. 






(KobviL 



MONTGO 



in Clarence BROWN 
production 



Beautiful Joan Crawford gives what many 
critics believe to be th,e most impressive per- 
formance of her career. Faced by her former 
lover and her husband-to-be she takes a course 
which leads to the very brink of tragedy. 
Once again Joan Crawford mingles tears and 
laughter, heart-throbs and thrills — again she 
captures the hearts of millions of her screen 
admirers! You'll compare it with the most 
thrilling picture you've ever seen! 



METRO-GOLDWYN-MAYER 



NILS ASTHER 
MAY ROBSON 
LEWIS STONE 

From the novel by Marie Belloc Lowndes 



The New Movie Magazine, July, 1932 



Lucky at Life— 

UNLUCKY at LOVE 



By VIRGINIA MAXWELL 




Irving Chidnoff 



Reflections on 

SUPPOSE Aladdin were . . . . 

appear to you sud- who would give 

dcnly and tell you to . ■ 

make a wish— just one s " e nas 

wish — and you could have it. 

Would you wish for 
beauty, wealth, fame? Or 

would you be willing to relinquish all these things for 
just one hour of love — real, honest-to-goodness love 
with all the sincerity and devotion the magic gift 
holds? 

We wore chatting about these things one evening, a 
group of over-the-er-r-cocktail friends, when Lupe 
Velez breezed into the party, fresh from a triumphant 
conquesl of Broadway in her Ziegfeld stardom. 

"Ha, ha. ha — eet ees to laugh when you talk so," 
Lupe jeered. "There ees no girl living who would not 
give up everything for lnvr. It is grand, magnificent! 
— but where can you find it?" 

'•Lucky at life, unlucky at love." someone reminded 
her. This consolation didn't satisfy the glamorous 
and seductive little Mexican firefly. Lupe wants life, 
luck and love, and makes no bones about telling the 



10 



Lupe, the girl 
up everything 
for Love 



world she expects to get it 
even after the disappoint- 
ments in love Lupe has suf- 
fered. 



SOMEHOW, Lupe has been 
terribly lucky at life. In 
love she has had more miserable hours of silent suffer- 
ing than most people know about. Lupe used to sit home 
and cry over a man, not so long ago — but she doesn't 
cry now. She says in her own piquant way : 

"I will not cry more for any man. I am out to have 
one grand good time, to enjoy life, to enjoy the success 
which life has given me, and to forget all the bad things 
which have happen to Lupe." 

While she was saying this, John Gilbert was in his 
New York hotel but a few steps away. Suddenly she 
recalled something important, and she dashed toward a 
secluded telephone to get a number. 

Lupe didn't say whom she was going to call. From 
current rumors around Broadway, however, it was more 
than likely she did not call John Gilbert. For the wise 
boys around town have been (Please turn to page 77) 

The Neic Movie Magazine, July, 19.32 




Homeless and an orphan— facing 
life without promise— picked up by 
kind-hearted men and sent to Culver 
to make a man of him. He rebels — 
fights — loses — WINS. What a lesson 
in patriotism — what a thrilling climax 
for the street gamin who became 

TOM BROWN OF CULVER. 

Cash TOM BROWN, H. B. WARNER, 
SLIM SUMMSRVfilS, RICHARD 
CROMWELL and others. 
Directed by Willi AM WTU-R 



Vnw€HA€MJl "pi 



UNIVERSAL C I T y , CALIFORNIA 



The New Movie Magazine, July, 1932 



Cart £h*>sm*mt*> 
President 



1 3 f I f ? H AV'f NU E, N £ «' 



11 




Two Cats of Hollywood 



Not rival film beauties but two 
regular felines who found fame 
and fortunes in Hollywood and 
brought stardom by proxy to 
their mistress. 

By JOAN TRACY 



THIS is the Btory of the two most famous 
in Hollywood and of their mis- 
tress, to whom they brought stardom by 
proxy. . . . 

When Nadine Dennis was a little girl, she 

dreamed of the day when she would go to 

Hollywood and become a motion picture ac- 
tress. A leading lady and even, perhaps, a 

star! 

It was not new. the dream. All over the 
world, in cities, in the country, in towns both 
and small, other girla were living and 
dreaming the same sort of youthful, school- 
girl dreams. . . . 

Hollywood was not big enough for all of 
them. Its starry firmament could not hold so 
many luminaries. . . . Nadine Dennis be- 
came just another one of the eager, striving 
girls who were jutting their youth and their 
glorious fresh beauty against the cold cruelty 
of the cameras — pitting their all and losing. 
And Nadine Dennis might have been just 
like most of those others— lost and forgotten 
in the struggle. But because of a gentle, kindly deed, 
performed several years ago, she remains in Hollywood 
today, comfortably, happily, and with an income that 
is tar from negligible. . . . 

In 1926, during the cold grey hours of an October 
dawn. Nadine Dennis was awakened by wails and 
moans that came from somewhere in the fields near 
her window. At first she thought it was a trapped 
rat, but when she investigated she found a newly born 
kitten, half frozen from the cold, almost dead from 
starvation. 

Picking up the poor, pitiful little animal, she carried 
it to her home and gave it into the keeping of her 
highly-prized Persian cat, which only a few days before 
had had kittens of her own. 

(if high pedigree and royal lineage, the Persian 
frowned upon the mongrel kitten, and refused to allow 
it among her brood. But Nadine cared for it tenderly, 

feeding it from a bot- 
tle, until it was old 
enough to lap up milk 
by itself. 

One of the Per- 
sian's kittens, Ko- 
Fan, began to play 
with the little waif, 



Miss Nadine Dennis, 
with Puzzums, the kit- 
ten that repaid a debt. 





Puzzums and Ko-Fan, mongrel and aristocrat, 
well received in the cinema capital. 



which Nadine had named Puzzums, and the two cats 
became inseparable. In fact, Nadine could not leave 
them even to go to the studios in her daily search for 
work. 

Occasionally her efforts were rewarded, and she 
obtained an obscure bit in some production. And while 
she was performing before the cameras, the two cats 
would sit on the sidelines, waiting quietly for her to 
finish. 

And then, one day, an assistant director noticed them, 
and suggested that she show them to Mack Sennett, 
who could use them in his comedies. 

At first she did not give the suggestion much consid- 
eration. After all, she was in Hollywood to get in 
pictures herself, not to train cats for movies. But the 
more she thought of it, the more she was inclined to 
give the idea a trial. 

Acting on a hunch one day, she made the long trip 
out to the Sennett studio, where she. was immediately 
offered a contract for Puzzums at the stupendous sal- 
ary of $50 a week for the first week, graduating to 
$250 a week by the end of three years, the term of the 
agreement. 

Today, Nadine Dennis has given up all intention of 
striving for stardom for herself. She has a comfort- 
able home — a nice car — pretty clothes and pleasant 
friends. Her life is very full. She has no financial 
worries. 

And her days are occupied in managing the business 
affairs of two of the most beautiful stars in Hollywood 
— The two cats! 



12 



The New Movie Magazine, July, 1932 





HAROLD LLOYD, the bespectacled comedian, is busy making another of his hilarious pictures, "Movie 
Crazy." And Papa Harold has selected pretty Constance Cummings, Columbia star, for the feminine lead. 



Gene Kornman 



The New Movie Magazine, July, 1932 



13 




This brilliant Fox star, author of the accompanying article, came to American Films from English pro- 
ductions. She has just completed "The Woman in Room 13." Her next is to be "Burnt Offering." 

How I met Charles Farrell 

By ELISSA LANDI — Film Star, Composer and Author 
of the recently-published novel, "House For Sale." 



4S the train chug-chugged out of Albuquerque on 
/\ its way to Los Angeles, I opened a day-old 
I ^ morning paper. I was on my way to the film- 
city to seek my fortune, as it were, through the 
medium of the American celluloid. (I had already im- 
mortalized myself in various and sundry European 
filmatic works of art, but then, as everyone knows, we 
;ill make mistakes when we are young.) 

Out of the page there leapt at me my own name, coupled 
with that of Mr. Charles Farrell. "New leading lady 
found for Charles Farrell in his next starring picture," 
and all that sort of thing. In 
the next paragraph I found a 
(plaint piece of contradiction: 
Blissa Landi was Fox's new 
Garbo. Tut-tut! Odd. very 
odd. Didn't make sense. 



Charles Farrell and Elissa 
Landi, in a scene from the 
Fox picture, "Body and 
Soul." This was the first 
American picture in which 
Miss Landi appeared. 




Farrell had always been associated with Gaynor, 
petite, piquant, pathetic. It had worked singularly 
well, too, that teaming. Now he was to be aided by a 
Garbo. Ahem! I looked into a mirror, found a pair 
of slit eyes, reddish hair, a round face and (I hoped) 
an expression of fairish good cheer and hope. 

But above all, I found I looked as pleased as I felt. 
I felt singularly pleased, excited, elated. I hoped I 
would make a good impression on the great Mr. Farrell. 
I had never met any of the renowned film stars, I was 
still film-struck, and was sure they were all lovely, 

gallant, beautiful beyond be- 
lief and oh, so awfully well- 
groomed. • 

The groomed part struck 
terror into my very heart and 
soul. Gosh, how did they 
manage to be so groomed all 
of the time? That part of 
a screen career was the 
one I knew I could never 
achieve. . . . 

Two days after I had ar- 
rived on the Fox lot IT all 
began. . . . Tests. 

(Please turn to page 78) 



14 



The New Movie Magazine, July, 19Si 




Phntofnfrj)li bit Hurrell 



WALLACE BEERY is an honest-to-goodness flier. He is the only Hollywood actor possessing a full government transport license. 
Mr. Beery owns an eight-seater plane, shown here, in which he has flown across the Continent several times. 



The New Movie Magazine, July, 1932 



15 




Our HOLLYWOOD 




' tff.X V 

Gloria Shea's quiet beauty of- 
fers an intriguing contrast to 
Joan Blondell in "Big City 
Blues," a Warner picture. 



Ctari rwi Sinclair Hull 

Wanda Mansfield, new Metro- 

Goldwyn-Mayer featured player, 

is seen in Joan Crawford's latest 

picture, "Letty Lynton." 



Will Walling, .It 
This nineteen-year-old Hollywood 
Cinderella, Ann Dvorak, is 
to appear next in Warner Broth- 
ers' "Competition." 







Gwili Andre, exotic Danish actress, signed 

to a long-term contract by RKO-Radio. 

Her first part is in "Roar of the Dragon." 

She's slated for stardom. 



George Meeker is a Brooklyn lad who 
learned about acting in a Cincinnati stock 
company. After "Strictly Dishonorable," 
Universal assigned him a role in the pic- 
ture "Back Street." 




This month New Movie Magazine presents 

would you choose 



16 



The New Movie Magazine, July, 1932 




Hurrell 



Nora Gregor (above) is the Metro-Goldwyn- 
Mayer player who was formerly a Max Rein- 
hardt star in Germany. You will remember 
her performance in "The Flesh Is Weak." 



Another Broadway juvenile who has made 
good! Morgan Galloway (left) has an im- 
portant part in Tiffany's "Lena Rivers." Bowl- 
ing Green, Kentucky, can be proud of him. 



KINDERGARTEN 





Ray Jones 



nine newcomers in pictures. Which of them 
for future stardom? 

The New Movie Magazine, July, 1932 



Another recruit to the movies from the 
stage is Margaret Perry. Her movie 
debut was made in Metro-Goldwyn-May- 
er's "New Morals for Old," adapted from 
the stage play, "After All." 

This petite blonde beauty, Nancy Drexel 
(left), can really ride a horse. Her dash- 
ing, daring skill will take your breath 
away in "Law of the West," in which she 
is leading lady to Bob Steele. 



17 



¥ J 



The Veteran Movie Hairdresser Reveals 



The Secrets of the Stars 



Answering: — 

Why does Gloria wear her 
hair away from her fore- 
head? 

Is Tallulah Bankhead's hair 
naturally wavy? 



Why doesn't Lilyan Tash- 
man wear her hair low? 



Why does Esther Ralston 
wear a wig on the screen? 



4i 






"Bebe had black, thick 
hair (above). The talk- 
ies made her a blonde 
(left), and I think it im- 
proved her appear- 
ance and made her 
look more youthful." 



As Told to Hester Robinson 
By FERDINAND JOSEPH GRAF 

IOOKINi; backward is a pastime I have tried to 
avoid because it makes me feel too keenly the 
_J passage 6f time. But with the closing down 
of the Paramount Long Island Studios, where I 
worked for eight years as hairdresser to the stars, I 
find it interesting to rake over my memories. It 
doesn'1 seem that eighl years have passed since the 
day beautiful Natacha Rambova came into the beauty 
salon where I was working and asked: 

"How would you like to be hairdresser to mv hus- 
band. Rudolph Valentino?" 

t was like opening the doors to a magic world. And 
without hesitating. I immediately accepted Miss Ram- 
's offer. Within a short time I was part and parcel 
of the studio where Valentino, though its greatest star. 
was wholly in the hands of his wife. Of all the men 
whose hair I have dressed, Valentino was the least vain. 
He took his handsome appearance as a matter of course, 



"Many a night I 
lay awake thinking 
up new ways of 
dressing Gloria's 
strong, brown, 
healthy hair." 




rarely offering suggestions as to how his sleek hair was 
to be dressed. He was thoughtful, considerate of his 
co-workers, and never temperamental. 

Valentino was one of the few actors whose hair was 
naturally glossy and rarely had to be artificially treated 
with tonics to make it shine on the screen. Personally, 
I suggest the use of some gloss because it makes the 
hair look more vital. The best way to apply it is with 
the palm of the hand, and it should be used sparingly. 

I believe the policy I adopted in cutting Valentino's 
hair is best followed by any person with a well-shaped 
head. His head was so perfectly formed, that I cut 
the hair to fit it, cap-like, and that gave, him the well- 
groomed appearance which other men envied and 
women loved. Hair cut in this manner looks well, even 
when in disarray. 

Thinking about Valentino brings to mind the hair- 
dressing work I did for Jetta Goudal, who was assigned 
to a leading role in his film, "The Sainted Devil," a 
role she never played. The reason she never played in 
that film was because she could not agree with Mrs. 
Valentino on the wardrobe that had been created for 
the role. Miss Goudal was a difficult person to under- 
stand, and I had my own troubles with that unusual 
actress the first morning I attempted to dress her hair. 

After arriving early, because I wanted plenty of 
time to dress her hair for a nine A. M. appearance on 
the set, I knocked on her door. 

"I am not ready for you, Ferd," she said. 

I went away and returned again, receiving the same 
answer. Three times I knocked, and finally, when it 
was too late to do my best work, she let me in. Having 
to rush so much complicated matters, because Miss 
Goudal, unlike most actresses of the day, wore her hair 
in an elaborate coiffure. I might end the incident by 
saying we did not part the best of friends. 

Let me state here that under no circumstances must 
you go to a hairdresser you do not trust — but when 
you have placed your faith (Please turn to page 102) 



18 



The New Movie Magazine, July, 1932 




PEGGY SHANNON, is the young lady with the wind-blown 
hair, who was chosen to substitute for Clara Bow on a last- 
minute call, and soon became a distinct personality in her 
own right. She signed a Fox contract in February, and 
since that time has been in "Society Girl" with James Dunn, 
and "After the Rain." 



The NEW MOVIE MAGAZINE GALLERY of FAMOUS FILM FOLK 



The New Movie Magazine, July, 1932 



19. 



I 







Itobrri u\ Cotnirn 



Edgar Wallace, standing in front of the Hollywood home where he died — 
a picture he describes in his diary as taken especially for his wife. Author of 
140 novels, selling at the rate of more than 5,000,000 copies a year, writer 
of twenty plays in three years and with six successes running simultaneously 
on the London stage, he died leaving debts of $300,000. 



20 



The New Movie Magazine, July, 1932 



EDGAR WALLACE'S 
Hollywood Diary 



Beginning one of the truest and 

most fascinating pen-pictures of 

Hollywood ever published 

Written by the man whose novels 
and plays thrilled millions 



Editor's Note: Mr. Wallace, before he left En- 
gland, told his wife he would keep a diary and 
would address it to her. He thought it the most 
interesting way of keeping her informed of all of 
his activities. This he did, religiously. We have 
omitted the first part, because it refers to his At- 
lantic passage, his stay in New York and his stop- 
over in Chicago. 

Friday morning, 4th December, 1931. ■ 
En Route to Hollywood on the Santa Fe Chief. 

WE haven't seen a cloud since Tuesday night, 
when we came through a snow-storm, and 
even then didn't see one. All day yesterday 
we climbed and scooted up and down hills, 
and all the time there was on our left and right 
a stretch of semi-desert backed by hills and moun- 
tains, and that scenery continued this morning, 
except that there was a whole lot of cactus plant 
visible. 

I saw the sun rise! It was a most amazing 
spectacle. When it came up over the hills it was 
really a sun. 

For over a thousand miles a well-kept road has 
run parallel with the line. I think this must be 
the Lincoln Highway. It is out of sight at the mo- 
ment, but it will reappear from nowhere in a quar- 
ter of an hour's time, having taken a detour into the 
great desert. 

We are now approaching the hottest point of the 
trip, though it isn't at all warm this morning, despite 
the sun. This is a place called The Needles, where in 
summer you suffocate. After that we go down to Los 
Angeles. 

We have just passed over the Colorado River, shal- 
low and very wide, for this is not the season of flood, 
and we are following its right bank. The country has 
changed, naturally, because of the irrigation it gives, 
and all the brown of the trees and shrubs has become 
green. There are, also, a large number of trees in 
leaf, which is rather remarkable. 

Beyond Needles the country becomes delightful. Im- 
agine grove after grove, millions of orange trees, all 
in bloom; beautiful streets with great, straight palm 
trees running up each side; delightful little houses; 
and, as a background to it all, the mountains and foot- 
hills. 

Everything is green, and there is, about the place, 
an air of prosperity which you don't find elsewhere in 
the United States. 

We came into Los Angeles, an indescribable city 
which straggles all over the face of the earth. I was 

The New Movie Magazine, July, 1932 



*> 



f- 




Fryer 



Walter Huston, the actor, whom Mr. 

Wallace regarded as one of his best 

Hollywood friends. 



photographed when I got out of the train, where I was 
met by the press agent of the R.K.O. 

From Los Angeles to Hollywood is, I think, about ten 
miles. When I tell you you are in boulevards and 
streets all the time, and you are never once in the open 
country or away from the stores, you will realize the 
extent of it. The Beverly Wilshire, which I pictured 
as being in the most rural surroundings, is, in fact, on 
the main street. 

Hollywood seems to consist of filling stations, fruit 
markets and drug stores. I suppose we passed forty 
filling stations on our way from Los Angeles here, and 
God knows how many fruit markets, which are rather 
nice to see. The studio is about a thousand miles away 
from here, but our present arrangements are in a state 
of flux, and until I have seen Schnitzer (Joseph 
Schnitzer, then president of Radio Pictures) tomorrow. 
I shan't have any idea as to what I am going to do. 

There is no sign of a wild party. In fact my first 
impressions of Hollywood are not exceptionally favor- 
able. But we shall improve on all that, and I suppose 
I'm a bit tired. 

I shall go to bed fairly early tonight, and see what 
the place is like in the morning. I am going to 
the studio at nine to see (Please turn to page 80) 



21 





Ilw'll 



The NEW MOVIE Magazine's 
GALLERY of FAMOUS FILM FOLK 



ROBERT MONTGOMERY, recently completed " — But the Flesh Is 
Weak" for Metro-Goldwyn-Mayer, which earned him a well-deserved 
vocation. His idea of a good rest is to ride a swift horse in 
pursuit of a little white ball. And in his spare time, a little tennis. 

The New Movie Magazine, July, 19.32 




Elmer Fryer 



JOAN BLONDELL, the Warner Brothers-First National star, is a little 

tornado who has swept across Hollywood and scored one success after 

another. Her first starring picture was "Miss Pinkerton"; her current 

release is "Big City Blues." 



The NEW MOVIE Magazine's 
GALLERY of FAMOUS FILM FOLK 



The New Movie Magazine, July, 1932 



23 




24 



Tower stud tor 

The New Movie Magazine, July, 1932 



HERB HOWE tells of the strange career of ANNA MAY WONG 

Between Two Worlds 



Oriental by birth and Western by 

training, Anna May Wong walks 

broodingly along the imaginary 

line that divides the races. 



WHEN his second daughter was born to Wong Som 
Tsing, on Flower Street, in Los Angeles, he named 
her Wong Liu Tsong — Frosted Yellow Willows — 
because it was his desire, he said, that his daughter 
be graceful, tall and golden. 

Beneath the poetry lay keen disappointment. The schol- 
arly Wong had wished for a son. And so to please him, 
Liu Tsong's submissive mother placed a Chinese boy's cap 
on her daughter's head and arrayed her in the robes of a 
prince. By a chance of inflection in her name, which I 
can't explain, that also took on the masculine. 

Complication was added to the role of this American 
lotus who, despite her success as an actress, her reception 
in society abroad and her financial independence in a de- 
pressed world, is a gently brooding spirit on the baffling 
line between East and West. 

I ITTLE Liu Tsong's first contact with Western civiliza- 
*-' tion was painful. The American boy in the seat be- 
hind her at school stuck pins into her. Not meanfully, just 
experimentally. He wanted to see if the Chinese have the 
same feelings we do. To his lasting astonishment they 
apparently have not. Trained to suffer stoically as the 




($I| Qft 
m 



•■it- •■ 



m 



'&XM 



. y. .^#f- ■ > 




On the left-hand page is a photograph of Anna May 
Wong taken in Tower Magazines' studios. Directly 
above are Mr. and Mrs. Wong, Anna May (next to 
mother), and a sister. At the right, Anna May in a 
scene from one of her stage plays. 



The New Movie Magazine, July, 1932 



Eugene Robert Itichcc 



25 




Anna May woi named Wong Liu Tsong 
(Frosted Yellow Willows), by her father 
because it was his desire that she be 
graceful, tall and golden. Imagine that 
name in electric lights. 



Chinese do, Liu Tsong didn't ouch or tell the teacher. 
Instead she wore an overcoat the next day. 

The little Christian got a longer pin. Anna put on 
another coat. This kept up until Liu Tsor.g was wear- 
ing six heavy coats as a barricade. . Spring having 
arrived, the teacher thought the child must be alto- 
gether too warm and insisted that she unbundle. Liu 
Tsong dutifully complied, burst into a sneeze and nearly 
died of pneumonia. 

\ T OR did her martyrdom stop with this. She con- 
x ^ tinued to wear Chinese clothes and pigtails, into 
which the little Christians delightedly stuck burrs. But 
cut them she would not. To this day Anna defies 
Western fashion with unbobbed hair. And just you try! 

In the mornings Anna bravely attended American 
school. (I have neglected to say that "Anna" is the 
name the family doctor gave her when she was born. 
She herself added the "May" after her favorite month.) 
In the afternoons she went to the Chinese school in the 
old plaza, by Chinatown. There, oddly, she met with 
the Christian religion in action for the first time. It, 
too, was a shock. 

On the floor above the schoolroom the Holy Rollers 
held devotionals. Attracted by the strange sounds, the 
Chinese children trouped up the stairs one day at 
recess and were struck spellbound by the spectacle of 
the Christians rolling about in divine seizures. Catch- 
ing them there, their mouths agape, their teacher 
spanked them soundly and they rolled down stairs with 



Seizures of ;i much more painful kind. 
Considering all her vicissitudes it is 
small wonder that Anna tripped home 
one day with St. Vitus dance. The 
Christian life was too much for her. 
But the Chinese, knowing nothing of 
the nervous disorders that beset us, de- 
clared that Anna had become the habi- 
tation of evil spirits. It was more than 
a year before they were driven out by 
the soothing ministrations of her gen- 
tle mother. 

SEVERAL years passed without out- 
breaks from Anna. Apparently the 
evil spirits had been thoroughly evicted. 
Then one peaceful night the news came 
scurrying through the streets that 
Wong Liu Tsong had walked on to a 
neighborhood screen carrying a red 
lantern in her hand. Instantly China- 
town was a pandemonium of gonging 
tongues. The Wong child had gone 
berserk again. 

Wong Liu Tsong was in the movies. 
She was an extra in Nazimova's "The 
Red Lantern." Poor Mrs. Wong. To 
have this happen to her, she who hov- 
ered like a mothering spirit over China- 
town outfitting all poor babies. First 
the child had displeased her father by 
not being a boy. Then she had 
Portmit by otto i>,ar possessed herself of evil spirits. And 

now she walks forth with a red lantern 
in her hand to sell her soul to the devil. 
Among the Chinese, you see, there is 
still the belief that in being photographed you lose a 
little of your soul. Those who know Hollywood inti- 
mately will not flout this superstition. 

Anna's little soul had been risked for a few baby 
pictures. Her parents were modern, liberal. But when 
she exposed it to the fast consuming movie cameras 
her mother was somewhat troubled. 

But Anna had been honorable. She had asked her 
father's permission. He had been reluctant. Of course, 
many Chinese girls had played extra, but there are 
many Chinese girls who are not nice. Father Wong 
had consented only when certain honorable Chinese 
gentlemen who were also playing extras offered to lend 
their protection to Liu Tsong. 

ANNA'S family have never been proud of her success. 
If she had been the desired boy, it would have been 
different. Then they would have been very proud. A 
girl's place is with a husband in her home. 

Anna attributes her forwardness to the paternal 
prayer for a son. That is what she means by the 
masculizing influence on her life. Dressed as a boy 
she had played as a boy. She had three sisters anc 
when finally three brothers arrived she was delighted 
On her first trip to Canada she bought them all suit;- 
of the best English material. 

"I tried them all on," she says. "My youngest 
brother was a little smaller than I, and so I chose om 
that was tight for me. The next older was about m> 
size so I had an exact fit. (Please turn to page 74) 



26 



The New Movie Magazine, July, 1932 



ADELA ROGERS ST. JOHNS 

who knows Hollywood from behind the scenes, 

tells of the memories of Ricardo Cortez — beautiful 

and tragic, glorious and terrible. 

The Star with the Broken Heart 



UPON a spring day, a young man walked upon 
Fifth Avenue. He was going nowhere in par- 
ticular, seeking nothing save some answer to the 
call of spring that echoed through the great city. 

Yet that walk was to change his destiny, to involve 
him in a great and tragic love affair. 

For he stopped to peer into a window, where some 
jewels lay glowing upon rich velvet. And raising his 
eyes, he looked into a woman's face. A white face, be- 
neath wings of dark hair, in which glowed the most 
amazing dark eyes he had ever seen. 

The lady passed on, and since she was by no means 
a lady such as a young man might accost upon Fifth 
Avenue, he watched her go. He did not know her name 
nor where she came from, but he did know that he had 
seen the One Woman. That there was nothing he would 
not do for her, no place he would not go if she were 
there. 

That was the first time Ricardo Cortez saw Alma 
Rubens, and he proceeded to find out who she was. 



jV/f UCH has been written about the screen's great 
J-'-l lovers. Yet, I think, of them all, Ricardo Cortez 
has loved and suffered most. Villified, misunderstood, 
stung with gossip of those who knew so little about the 
strange tragedy which almost wrecked him, fighting a 
silent and losing battle with his loved one, which of all 
battles is the hardest to fight. 

A man who knew both Alma and Ric very well, told 
me not long ago that his admiration for Cortez was 
greater than his admiration for any other man he knew. 

"He did everything a human being could do to save 
another," he told me. "He sacrificed himself over and 
over again. And because of the very nature of the 
thing he found his worst enemy in the woman he loved 
and was trying to save. Because he stood between her 
and the horrible thing which had her in its grasp, she 
fought against him. And he took it without a word 
and went on trying to help her, loving her, being faith- 
ful to her no matter what happened. He was big enough 
to understand that it wasn't (Please turn to page 94) 




Cortez, as the young doctor, in 

a scene with Irene Dunne in "The 

Symphony of Six Million." 

He cannot mention the name of 
his dead wife, Alma Rubens, with- 
out showing in his dark eyes the 
pain of his loss. 



The New Movie Magazine, Jidy, 1932 



27 




Eugene Robert Hichee 



The NEW MOVIE Magazine's 
GALLERY of FAMOUS FILM FOLK 



TALLULAH BANKHEAD, there's a question lurking beneath the serene 
mystery of her lovely face — an inquiring expression in those heavy- 
lidded eyes: Is Tallulah Bankheod going to triumph in "Thunder 
Below," her latest starring vehicle for Paramount? Surely this star, 
who created such a sensation on the London stage, must succeed, 
if beauty and talent count for anything. 



28 



The Neic Movie Magazine, July, 1932 



■ 




CONSTANCE CUMMINGS, pretty, red-haired and blue-eyed, who made 
her film debut in "The Criminal Code," has been signed for a five- 
year contract by Columbia Pictures. She can be seen in "Attorney 
for the Defense" and in "Faith." In the meantime, Columbia has 
lent her to Harold Lloyd to play the feminine lead in his forthcoming 
picture, "Movie Crazy." 



The NEW MOVIE Magazine's 
GALLERY of FAMOUS FILM FOLK 



The New Movie Magazine, July, 1932 



29 



GEORGE ADE 



. . .the great Hoosier 
tumorist points out to us 



Why We Scold the Movies 




Paul Thompson Collection 



One of Marcus Loew's first picture 

theaters out of which grew Loew, 

Inc., and Metro-Goldwyn-Mayer. 



Typical scene in the early days of 
the movies — a movie house in New 
York. Note the line of baby car- 
riages at the curb. 



Po*t Thompson ColleeUi 



DID you ever hear of a man worrying over 
Bomebody or something he didn't like? Do 
people burn up other people with whom 
they have a mere nodding acquaintance? 

Who was it dug up the important fact that love ie 
next door to hatred? The only persons in this 
world that we reprimand, and then wake up in the 
night and cuss, arc those nearest and dearest to 
us — our immediate relatives and business associ- 
ates. Most certainly we do not devote hours to 
analyzing the faults and virtues of those in whom 
we are not intensely interested. 

All of which is by way of walking around the 
block in order properly to approach the proposition 
that the talking picture gets lavish praise and 
biting criticism, because it has become a member 
of the American home. 

The chances are that the reader of these lines is 
too young to remember a good' many things I .re- 
member. Maybe he or she never lived in the 
country or a small town. In fact, if Friend Reader 
is anywhere below middle ape the chances are that 
he or she is not awake to the fact that only in re- 
cent years has theatrical entertainment become a 
part of the daily diet in every household, the same 
as prunes, oatmeal or bacon. The world has been 
rolling on for millions of years, but onlv in the 
last quarter of a century have the civilized nations 
formed the habit of getting regular and frequent 
entertainments in so-called theaters. The drama 
thrived in ancient Greece and down through the 
ages, but always it was a rarity and an infrequent 
indulgence of the minority, until all at once every 
village, hamlet, whistling post, crack in the road, 
and jumping-off place acquired a "movie house" 
and that which had been a luxury became a staple. 

The next thing we knew, familiarity had bred 
contempt, and we found at every fireside a new 
type of household pest — the "fan" who went to see 
a picture show every night there was a new re- 
lease and then devoted all of the next day to sitting 
around "panning" the story, the actors, the pho- 
tography and the direction. 

Never anything like it in the world before. The 
daily recreational habits of the whole darn popu- 




30 



The New Movie Magazine, July, 1932 



Has it ever occurred to you 
that what's wrong with pic- 
tures is that something's 
really wrong with us? 



lation completely revised, turned inside 
out and upside down, all in the batting 
of an eye and all because some tinker- 
ing genius discovered that the figures 
on the screen in a "magic-lantern show" 
could be made to move about and even 
talk! 

CONSEQUENTLY, there is a "palace" 
^ where once the feed-barn stood and 
the bankers are trying to find out what 
to do with gigantic, oriental mauso- 
leums built in obscure settlements 
which, just a little while ago, could sup- 
port nothing more nifty than ham- 
burger stands and five-a-cue pool 
rooms. Any one who doesn't live within 
easy Ford distance of Mickey Mouse, 
Ruth Chatterton and Joe Brown, is 
just the same as up at the North Pole 
or in jail or off the earth. 

You, who have no gray above the 
ears are taking for granted and accept- 
ing as part of your just - inheritance, 
certain astounding marvels which have 
come on the scene since we old-timers 
crawled out of the cradle. Listen! If 
you had attended Bible lectures and 
"East Lynne" and the Swiss Bell 
Ringers; if you had bothered with 
smoky, smelly, flickery coal-oil lamps; 
if you had traveled muddy roads be- 
hind reeking horses at a maximum 
speed of four miles an hour ; if you had 
found it impossible to communicate 
with anyone a mile away except by 
taking a long walk or a horse-back ride ; if you had put 
in those long dreary evenings in badly-heated houses 
and nothing to do but pop corn, play checkers and read 
"The Youth's Companion"; if— but what's the use? We 
lived the pioneer life and endured the hardships and 
were just a lot of primeval Tarzans in cheap hand-me- 
downs, and that is why we are still excited about the 
talking pictures, the electric light, the motor car, the 
telephone, the aeroplane, the radio^ concrete roads, 
B.V.D.'s, step-ins and safety razors! And while we 
are still tingling over the wonders that have come to 
pass in our day and blatting about our pioneer experi- 
ences in the seventies, eighties and nineties, the wise- 
cracking moderns of the newer generation sit by and 
regard us with smiles of pity. Just the same, we can 
get a certain perspective on recent history and that is 
something they can't get: — and don't want. 

*TP give you an idea, let us take the case of my native 
A village some fifty years ago. We were surrounded 
by mud roads and lighted by kerosene. What's more, 
we had no telephones! Many of you think that the 
radio and talkie are the only first-class time-killers and 
sources of real enjoyment. Let me tell you that the 
first telephones, connecting village with village and 
farm house with farm house, eliminating time and dis- 
tance, bringing the far-parts into a neighborly friend- 
liness and banishing the deadly isolation of the back- 
woods and the agricultural regions, did as much as 




Just one of the interior aspects of New York's Roxv theater, 

one of the scores of great movie palaces to be found all 

over the world today. 



any single agency to make life endurable for those im- 
prisoned far away from the centers of population. The 
good old party-line buzzer saved many a farmer's wife 
from going out and jumping in the well. Anyone along 
a party-line could (and did) listen in for an hour at a 
time and hear Myrtle tell Jessie about her cold being 
better and having trouble with her buckwheat batter 
and Henry being kicked by the colt and did Jessie want 
to trade some quilt patches and how was the revival 
at Kemperville coming on, and little Grace Doolittle was 
all over the measles and so on and so on, chapter after 
chapter, the glorified chirping of a million liberated 
birds. 

The hard-surfaced roads and Rural Free Delivery 
came along as new blessings and the ruralities thought 
that Heaven had come down to Earth long before one 
of them had seen a Model T, a six-tube set with a trom- 
bone amplifier, or Laurel and Hardy trying to move a 
piano up a long hill. It just goes to show that every- 
thing in this world is relative and no one ever grieved 
over the absence of something that he knew nothing 
about. 

Getting back to the small town existence of not so 
long ago, we had no enclosed arenas for athletic con- 
tests, because basketball was still in the future tense. 
A kind of baseball was played in weedy back lots. The 
old swimmin' hole did a splashing business. Plenty of 
ice-skating in season. Three or four sad little road 
shows at the town hall (Please turn to page 91) 



The New Movie Magazine, July, 1932 



31 




The NEW MOVIE Magazine's 
GALLERY of FAMOUS FILM FOLK 



RICHARD BARTHELMESS, First National star, loves to travel, but he 
also loves to oct. And so, immediately upon his return from the 
Orient, where he and Mrs. Barthelmess were eye-witnesses to many 
dramatic episodes in the Sino-Japanese war, he started work on "The 
Cabin in the Cotton." 



32 



The New Movie Magazine, July, 1932 



^m 



TED COOK, the popular humorists 
broadcast direct from Hollywood 




I 



'ANOTHER MERGER! They're going 
to take Will Hays' ears, Joe Brown's 
mouth, Garbo's feet, and Durante's 
nose, and make another ''Dr. Jeky II" 

T'S getting so tough in the picture racket that pro- 
ducers are trying to pay off in cellophane. 



to the time for 



Or, better still, hire extras to hold 
hands with the customers. 

Hot Chatter from Hollywood 

pLARK GABLE is so unspoiled by 
^ success that he presses his valet's 
pants. . . . What blonde star gets the 
most requests for her autograph ... on 
a check made out to her grocer? . . . 
Ruth Chatterton is so polite that she 
won't even stick out her tongue at the 
doctor. . . . What leading man recently 
discovered a mirror in a shop window, 
and almost starved to death? 

Jean Harlow's tight, revealing clothes 
Delight her friends and pique her foes. 

IF everyone will remain absolutely quiet 
for a few seconds, we will quote from 
the Immortals: 

MARY PICKFORD— 

"If Charlie Chaplin were a soap 
manufacturer he would be worth 
$100,000,000 instead of being a com- 
paratively poor man." 

MME. PFYFFE, Price Bldg., Holly- 
wood — 

"Eyelashes can now be dyed for two 
dollars. They should be brushed 
gently with oil twice a 
ivmo day." 



H. L. MENCKEN— 

"If I had to go to the 
movies I'd go for the 
slap-stick comedy." 

CONGRESSMAN SIRO- 
VICH— 

"There are actors who 
have gone to their graves 
because of the humilia- 
tion suffered at the 
hands of critics." 



JUNE COLLYER— 

"I am looking forward 
growing old." 



RUT the Great Minds of Hollywood are equal to the 

emergency. 

They are planning a big merger — they're going to 

take Will Hays' ears, Joe Brown's mouth, Garbo's feet 

and Durante's nose and make another "Dr. Jekyll." 



Keeping movie critics glad 
Drives producers almost mad. 

And a censor is a person who thinks 
everybody who buys a two-pants suit 
is leading a double life. 

News item says: 

PARIS — Finding no work for ex- 
tras in the studios, a Paris casting 
agency is offering to supply them 
to theatres to represent long lines 
of people waiting for admission. 

It's too bad they can't hire extras 
to do all the aisle-stumbling inside 
theatres. 




She probably wants to get in on a soap testimonial. 

Movie critics are too handy 
Calling every picture dandy. 

Be that as it may, everything would be all right if 
a theater admission tax raised revenue as quickly as 
it raises indignation. 



Send this to your Congressman — 
(News Item) 
LONDON — During the first twelve weeks' 
operation of the new entertainment tax, 
attendance in the motion picture houses 
throughout Great Britain decreased 165,- 
000,000 more than had been expected. 
(Please turn to page 101) 



A picture of Gary Cooper taken 
some years ago, before the Lupe era. 
And now they say he's gone high-hat. 



The New Movie Magazine, July, 1932 



33 



GABLE of the SEVEN FACES 



Seven vivid characterizations in seven 
different pictures have placed Clark Gable 
on the pinnacle in less than a year. 



By FREDERICK L COLLINS 



'^^kfll 



/-/ 




In "The Easiest Way", a Connie Bennett picture, Clark was 
only a laundryman. But what a hit his small part model 




Then there was "Laughing Sinners", in which Clark portrayed 
the Salvation Army worker and almost stole the picture. 



HOLLYWOOD has a new idol. So America has 
a new ideal. Or should we s;iy that America 
has a new ideal, BO Hollywood has a new 
idol? Who knows? Anyhow, Clark Gable 
is it. 

He is packing them in. The girl friend insists 
on going to see him. The boy friend insists on 
taking her. And that, my comrades of the back row, 
is the boxoffice idea of heaven. 

Heaven hasn't come to Hollywood for a long time 

not since Douglas Fairbanks was a boy and Wally 
Reid was in his prime. Their successors have seldom 
been bi-sexual in their appeal. Take Valentino. 
The girls signed for him; but the boys shied from 
him. They might even have shied at him if they 
had a chance! 

Of course, it wasn't altogether Rudy's fault. He 
did wear a slave bracelet, but he really didn't wear 
a corset or wield a powder puff. However, we won't 
go into that. The fact is that masculine America 
would not stand for him, or for his brothers of the 
slick-backed locks, the hour-glass waistlines and 
the lambent eyes. 

This same masculine America is crazy about Clark 
Gable. 

Why? Well, I'll tell you. He is one of us. He 
was born, as all Presidents of the United States and 
other candidates for popular approval should be, in 
the All-America state of Ohio. In Cadiz, Ohio. 
That's a good start for any American boy. And 
Gable lives up to it. He is friendly. He is folksey. 

"I never think of those early days," he said to 
me the last time I saw him, "without smelling to- 
matoes — or perhaps I should say I never smell 
tomatoes without thinking of those days. For a 
long time I couldn't understand it. Then I re- 
membered that my grandmother was a great hand 
at making tomato ketchup, and that she was always 
stirring it in a great black pot." 

He would remember something homey like 
ketchup. That's the kind of a boy he is. He belongs. 
That is the first and greatest reason why men like 
him. 

ANOTHER thing in his favor is that he has a 
■ funny face. There isn't a man sitting out there 
in the dark, squinting at Clark Gable, who doesn't 
think that he is a "better looking man than that 
guy." And maybe he is. His face may be wider at 
the temples and thinner at the chin. His ears may 
be more closely associated with his head. His fore- 
head may not have a dent in it. In short, he may 
be a darned sight more like the collar advertise- 
ments he has accepted as his ideal. And he likes 
that. 

He also likes the fact — anyone who looks at Gable 
knows it is a fact — that he wouldn't be a lady-killer 



.14 



The New Movie Magazine, July, 1932 




In "A Free Soul" with Norma Shearer, he made his part 
as the gambler one of the outstanding bits of the show. 



in the Valentino sense, even if he had the face to 
make him so. There is something smoky and clubby 
and manny about this fellow. There always was. 
I asked him once, during the brief period when he 
was playing leads on Broadway, why he always went 
around with older people, especially older women. 

"Do I?" he asked. "I must have gotten that way 
when I was a kid. My mother died when I was only 
seven months old, but I spent most of my early life 
where there weren't any girls except my grand- 
mother and my stepmother. I learned about women 
from them." 

"But later?" I ventured. 

"Well," he smiled, "I never did shine very brightly 
as a social light. I liked girls, but I was afraid of 
them. Whenever I was with them, I was never quite 
sure what to do with my feet. I'm not always sure, 
even now." 

Men sense that about Clark Gable. They like other 
men who don't know what to do with their feet! 
That is another reason why the average man likes 
this new hero of the screen. 

Also, although he doesn't admit it to himself, he 
may like him because he knows that if he didn't, 
Gable might "knock his block off!" 

WHICH brings us, naturally as it were, to why 
women like him. I don't mean that they think 
he is going to knock their beautiful blocks off. But 
it is an intriguing thought. I was standing, six 
back, among the standees at a recent matinee of 
"Possessed," when Gable up and slapped Joan Craw- 
ford in the face. 

"He's always slapping his women," said a sour- 
faced woman beside me. "I'd be crazy if he did 
that to me." 

The ribald youth on my other side nudged me. 

"Oh, yeah," he whispered, "she'd be 'crazy' all 
right, if she could get him to do it!" 

Whereupon a starry-eyed girl-child, of perhaps 
eighteen, chimed in demurely : 

"I wouldn't mind." 

That's it; the girls don't "mind" Clark Gable. He 
might slap them ; but there is something in his smile 
— not exactly gentleness, but something that bats 
for gentleness — which might protect them from such 
a fate. You notice I say "might." In that word, in 
the annoying, alluring, menacing, challenging doubt 
that this man raises in the feminine heart, lies the 
secret of his popularity. 

'"pHERE is a mystery about the man that defies 
*■ detection, not the mystery of dreamy eyes, of 
bizarre head-dresses, of shining armors, of flowing 
robes, but that eternal mystery which ever haunts 
and troubles and eludes the feminine mind and heart 
— the mystery of a man. {Please turn to page 76) 







"The Secret Six" demonstrated this young man's versatility. 
Then, he was menaced by Jean Harlow's personality. 





most any young man would be worried about appearing 
with Garb©. But not Gable. He just smiled and sailed in. 




Then there was that picture, " Sporting Blood ". Clark turned 
his part as the young racetrack tout into a glorified venture. 




In "Hell Divers" Clark was up against that consistent stealer 
of pictures, Wally Beery. But Gable gave him a swell race. 



The New Movie Magazine, July, 1932 



35 



ADRIENNE DORE 

chooses clothes for 

daytime and playtime 




It looks like play, but it may mean work — Adrienne 

Dore's sporty boating costume — velveteen trousers, 

striped jersey sweater, brushed wool beret, anklets and 

sneakers. This is Adrienne's favorite studio outfit. 



Beach pajamas that are soft and feminine are her choice 

for the California sands. These are made of rough grey 

roshanara crepe with a contrasting sash of double black 

chiffon. They're the utmost in comfort. 



36 



Elmei f rytr 

The New Movie Magazine, July, 1932 





WHEN a girl likes to dance and play tennis, roller 
skate and go to polo matches, it's a fair chance 
that her clothes will reflect those interests. 
Certainly play-time clothes are favorites with 
Adrienne Dore, Warner-First National player. 

"So many women spend all their time selecting the 
clothes they will wear to work or to dinner or to special 
affairs where they wish to make a sophisticated impres- 
sion," says Miss Dore, "and then just wear any old 
thing when they go out on the links for a game of golf 
or lounge on the sands. 

"I don't believe in that at all. Of course I think 
clothes are important at all times. That's why I choose 
my sports clothes with as much care as I choose my 
evening clothes. 

"One should be able to forget the clothes question 
after the frock is donned, so all the more reason for 
careful selection. I don't like to wear too severe or mas- 
culine styles, although I believe the first rule for sports 
clothes is that they should be neat and trim. And when 
a girl is out of doors and her hair is blowing in the 
wind she can benefit by the contrast." 

ADRIENNE is of medium height and weight — 5 feet 
4 inches tall, 112 pounds. Her golden blonde curls 
and green eyes furnish the basis for a number of inter- 
esting color combinations, although she admits that 
blue is one of her favorite colors. 

She's slim but has the new curves and is by no means 
thin, likes to wear clothes that make her look tall, par- 
ticularly jn the evening. She prefers to buy her clothes 
in Hollywood because the shopkeepers know just ex- 
actly what she wants. There's another fashion hint in 
that line. 

"Don't shop around for clothes, if you want to dress 



Adrienne goes dancing summer evenings in this 
charming flowered crepe frock with its little Em- 
bassy jacket, wide-sleeved and tied at a high waist- 
line. Pink and green flowers on a pale yellow back- 
ground enhance her blonde, green-eyed loveliness. 



Irving Lippman 



The New Movie Magazine, July, 1932 



37 




Imwt Lippmau 



successfully, and inexpensively in the long run," she says. 

"If you go to the same shops, time and again, for your 
clothes it isn't necessary to limit it to just one — they get to 
know your tastes and your needs and will let you know when 
anything that suits your type comes in. You will really save 
money by having a much smaller percentage of failures in 
your wardrobe." 

For the studio Miss Dore — and that's her real name, by the 
way— likes to wear something comfortable: sports lounpring 
pajamas, a trouser and sweater affair such as the one illus- 
trated. Sometimes she wears sneakers and sometimes shoes 
so that she can rolier skate the long distances between sets and 
offices on the lot. 

She likes to swim and she likes the water. Loose silk pa- 
jamas are her favorites for lounging on the sands, and a trim 
and trig yachting costume is included in her wardrobe not only 
to wear aboard but suitable for the Olympic games or spec- 
tator sports 

Her favorite golf outfit includes a white wool cap with a 
cuff brim, a white sweater trimmed with a red and blue edging 
and little flags, and serviceable rubber-soled and heeled shoes. 

For dancing these summer nijrhts, something soft and 
feminine, is Adrienne's choice. The colors chosen — pale yel- 
low, pink and green — would be difficult for anyone without 
her unusual combination of green eyes and blonde hair. 




Smart sports costumes on simple tai- 
lored lines are a foil for Adrienne's 
feminine features. The jacket costume 
at the left for golf, boating or the 
Olympic games is carried out in flag 
colors. A white wool cap is worn with 
the white sweater with red and blue 
trim and box pleated skirt above. 




Irrinp Lipjntt'in 

White wool crepe contrasts with a ro- 
man striped bodice for a daytime sum- 
mer frock. The little bolero jacket is 
removable and white accessories include 
a brimmed hat of Montelupo 



38 



The Neu> Movie Magazine, July, 1932 




Bette Davis finds that trim, slim bathing suits with 
abbreviated backs suit her double purpose of swim- 
ming comfort and a maximum of sun-tan. Shown 
at the famous Pebble Beach pool, she is wearing 
the bandeau type of suit, its bodice joined to the 
trousers only at the front; blue, trimmed with a 
white edging. The center picture shows her in her 
favorite flag red suit. The white trimming bands 
crossing in the front, continue back to form straps 
attached to the waistline at the back. 



The New Movie Magazine, July, 1932 



39 




Two Famous Writers Put The First Lady 

CHATTERTON, the Charmer 




Ruth Chatterton (above), the little lady 
who charmed herself into stardom on the 
stage and screen — as Elsie Janis (right), 
herself a great stage star, describes her. 



E. A. Srknrnhaun 



ELSIE JANIS takes the 
woman's point of view 



I HAVE just been strolling through Mr. Web- 
ster's synonyms for the word "charm." I 
find to enrapture, captivate, bewitch, allure, 
delight, entice, and 1 am quite pleased with 
my title because I have sat back and watched La 
Chatterton do all of those things at will! 

I could have called this friend's-eye-view "The 
First Lady of the Screen," but as a matter of 
fact I'm rather fed up with reading about Ruth's 
refinement and exquisite taste. Not that she 
hasn't both, but she couldn't be so completely lady- 
like as one reads she is and still be my best woman 
friend ! 

I will admit that the things which charm me 
most about her are those which I do not possess 
myself. 

She is dainty, small, blonde, chic, and very 
feminine to the naked eye, but she thinks like a 
man and has more courage, endurance and sport- 
ing instinct than most of the so-called stronger 
sex! 

I first saw her more years ago than I can be- 
lieve, at a benefit performance in which we were 
both appearing. I was already a star and had 
read about her success in "The Rainbow" with 
Henry Miller. Her extreme youth was much 
talked of, and, as I was supposed to be the young- 
est star on Broadway, I was most anxious to see 
this bit of blonde opposition. 

I tried to watch her from the wings, but young 
Miss Chatterton, it seemed, was very tempera- 
mental and had her stage setting boxed in so that 
I had to sneak from crack to crack for even a 
glimpse of her! I didn't care much for what I 
saw or heard. I thought she was affected and con- 
ceited. I continued to think so for several years. 

XT' OU can imagine my surprise when, after a per- 

1 formance at Keith's Theater, in Philadelphia, 

the head usher came to my dressing-room and 

asked me if I could see Miss Chatterton. I 

thought, Why should I? — but I said, "Please bring 

her back stage!" and into my life came Mrs. Chat- 

terton's little girl. Simply 

and sweetly she told me how 

she had always admired my 

work and wanted to meet me, 

adding that she had been so 

nervous at the benefit a few 

years before that she would 

have forgotten her lines if 

anyone had watched her from 

the wings. 

There is no love more satis- 
fying than that which is the 
offspring of antipathy and 
misjudgement! It flourishes 
rapidly, as if in an effort to 
make up for lost time. 
{Please turn to page 110) 




40 



The New Movie Magazine, July, 1932 



Togo's Scream Play 



Continuing the adventures of the 
Japanese Schoolboy in Hollywood 

By WALLACE IRWIN 



Somebody had split me 
in eyebrow with a $40 
umbrella and left 4 lbs. 
of my hair hanging to 
a palm tree. 




To Editor, "Neiv Movie Magazine," a very smart 
Printer with illustrations. 

Dearest Sir: 



Tl 
: 



*OGO!" This were Hon. Geo. F. Ogre speaking 
at me. This famous Hollywood emotion picture 
director, were talking without megaphone, 
mickrophone or anything else except his mouth. 
I see he were tensely beating his heart about some- 
thing. I come in just then, fetching 14 qrts of tea, 
which he drink with pepper and salt to keep him from 
getting calm. 

This happen in the solid glass compartment of his 
Hollywood palace which he call his Thinking Room. 
To keep him quiet he were surrounded by 3 radios, 
Ernest Pubitsch, a boy hired to shoot firecrackers out 
from the window, Howard Hughes and Miss Caramel 
Sweet, who in the eyes of Heaven, are Mrs. Ogre. 

"Togo," he pronounce, 
and I stand ghast for that 
phenomenal, "how you like 
get so rich you could accept 
a 22,000$ cut in salary, and 
think nothing about it, 
even when you bring a 
lawsuit?" 

"This look so easy it 
seem deceptive," I say it. 

"Then listen at what I 
say," he corrode, while 
walking down and up like 
Napoleon in a cage. "I 
know something because 
my brain are full of hot 
steam. This make me a 
genius. I know that the 
Japanese are a deliciously 
brave people. Look at the 
way they make peace in 
China by burning down 
Shanghai. Not so is it?" 

"Banzai!" I narrate like 
a airplane dropping bums. 
"Then yu are hired. Now 
listen with all your face." 

LIE walk. His chest look 
*-*■ awfully aggrevated. "I 
are now prepared to shoot 
a Revolution into Holly- 
wood which will turn this 
business entirely around, 
from tail to forhead." 

Hon. Ernest Pubitsch 
set up, Hon. Howard 



Then of suddenly she look 

at that subdivided face. She 

plae up, she skreech out — 

then go crazy outdoors. 




and 
case 
But 



Illustrations by 
Herb Roth 



Hughes set down. But Miss 

Caramel Sweet simpully took ^P? 

a diamond-trimmed mirror out of the gold ridicule she 

always carries, and look-see if she got her lips on 

straight this morning. 

"This are my Thought or Idea," dictate Hon. Ogre, 
sticking his hands through his pockets. "Hollywood 
have been manufacturing Love so long that the ma- 
chinery are getting wore out around the wheels. The 
love of Michael Mouse, the love of Anna May Wong, the 
love of Countess Swanson — every day are Valentine's 
Day in Hollywood. This candidion must stop!" 

Hon. Howard Hughes 
bite the silver head off his 
cane. Hon. Ernest Pu- 
bitsch grone twice 
throw his cigarette 
out from the window 
Miss Caramel Sweet open 
her teeth and otter hashly, 
"Geo ! Geo ! Do you know 
what you are saying?" 

"I tell you this," corrode 
Hon. Ogre, filling his eyes 
with sharp knives. "From 
now onwards something 
must be found to take the 
place of Love." 

"But which?" yall all 
voices in unicorn. 

"Fear!!!" snarrel Hon. 
Ogre. "Observe please the 
shrieking success of 'Dr. 
Jackall & Mr. Snyder' when 
that pretty Fredrck March 
make everybody sick by 
turning his face wrong side 
out and swallowing his 
false teeth. Yeah, also. 
Observe how Borax Karloff, 
an awfully sweet Russian, 
fix up his face with poison 
paint and scare 330000000$ 
into Hon. Box Office in that 
screem-play called 'Frank 
N. Stein.' Also Hon. Sid Fox, 
drinking blood cocktails in 
'Durrrrracula' while laides 
faint and come back next 
week to show it to their 
children. You see some- 
thing by that?" 

NOBODY see something, 
except Miss Caramel 
Sweet, who set matching 
silken samples with a blue 
(Please turn to page 97) 



The New Movie Magazine, July, 1932 



43 




Photo III/ Sin 



Do you know that: 

Jim mil Durante once as- 
liinrl to be a» accordion player 
liki Phil Baker—? 

But gave it up after he had 
pinched his own nose thret 
in the contraption? 



EVERYBODY? Virginia Cherrill 

*-^ is back from the South Seas, and 

everybody is wondering why her marriage to William 

Rhinelander Stewart did not take place as forecast. 

TjWSHION DEPARTMENT: Maybe Jimmy Cagney 
* thought it good publicity to go as the hard-boiled 
guy, even to an exclusive theatre opening on Broadway. 
He showed up in brown tweeds instead of evening 
clothes, which created quite an agonized social flutter. 



"Spanlcy" McFarland and Pete 
the Pup get a free ride in 
their own version of a travel 
car de luxe. "Stymie" Beard is 
the chauffeur-footman and mo- 
tor power, all in one. All are 
members of "Our Gang" on 
the Hal Roach lot. 



And were those platter- 
lipped Ubangi savages with 
the Barnes circus jealous of 
Joe E. Brown when they saw 
him in Hollywood? 



A' 



almost forgot to tell you about 
Connie Bennett's fittings at her 
New York modiste's salon. She 
is the terror of the girls who work at this place, for 
Connie can detect the slightest flaw in the fit of a 
gown. When she was in New York last time she had 
the hipline in one gown fixed and refixed six times be- 
fore it suited Her Majesty. Sweet to everybody there 
when the fit is okay, they shiver when she first comes 
in, and until they have won her final gracious word of 
approval. 



44 



The Neiv Movie Magazine, July, 1932 




£;£ 



When sued for $3500 for a portrait of himself, 
Tom Mix maintained he wouldn't pay that much 
for one of Rembrandt's. 

ANOTHER CUSTOxMER LOST: Now Helen Twelve- 
^* trees can save all those two-cent stamps and buy 
tooth paste instead, because her mother has left Brook- 
lyn for Hollywood to visit Helen. Helen made it a point 
to write her every day. 

HELENE CHANGED: The last time— or rather, 
next to the last time — we saw Helene Costello was 
at an auction in Hollywood. Lowell Sherman, her new 
hubby then, was trying to buy up all the old volumes of 
Shakespeare and bidding against his brother-in-law, 
John Barrymore. We ran into Helene the other eve- 
ning at the Pierrette in New 
York, and she is a changed girl. 

Very serious. And a little 
stouter. But more appealing in 
her dignity as a matron. Helene 
is divorcing Sherman. It just 
wasn't a go. 

When she gets a wee bit senti- 
mental she weeps about her fa- 
mous Dad's past glory — and about 
the loveliness of her sister Do- 
lores, wife of John Barrymore. 
Helene says Dolores is the most 
beautiful girl in the world. From 
your own sister! — isn't it grand? 
We'll bet they never borrowed 
each other's hats without per- 
mission. 



Nils Asther turned to the in- 
surance business when sound 
pictures arrived. Now he is 
back in the talkies as Renaul 
in Joan Crawford's current 
picture, "Letty Lynton." 




Garbo appears even more beautiful 

when she dons this blonde wig for her 

latest picture, "As You Desire Me." 

Albert Conti is the lucky fellow. 

Tom Brown was rehearsing a scene when his director, 
Willie Wyler, noticed that he wasn't wearing his cap. 

"Wait a minute, Tom!" interrupted Willie. "You 
wear your cap in this scene." 

"Well, do I need to rehearse in it?" queried the dis- 
gusted Tom. "I don't talk through it, you know." 

DUFF FOR MRS. CLARK: We came across Mrs. Clark 
1 Gable at the opening of "Grand Hotel" in New 
York. She went to the theatre with Cliff Edwards and 
his party. And her gown was 
really lovely, dignified and becom- 
ing, a la Park Avenue manner, 
which befits her so naturally. 
Ecru lace gown with a dyed 
ermine jacket of matching shade. 

D AFFLED AGAIN: We suppose 
*-* that by the time your eager 
eyes scan this, everything will be 
something else. But can you 
blame us if the old world keeps 
turning? . . . Well, you remem- 
ber Arthur Loew, son of Marcus 
Loew, and how all of the chatter 
newspapers carried stories that 
he and Helen Morgan were mar- 
ried — and then denied it? And 
then comes Molly O'Day, kid 
sister, and announces that Sister 
Sally O'Neil is engaged to Arthur 
— when all of the time we thought 
Lewis Milestone was interested in 
her. And next Sally denied the 
engagement and got pretty gen- 
erally upset at Sister Molly. . . . 
So, Arthur, would you please do 



The New Movie Magazine, July, 1932 



45 




Here's a quartet of champions! Reading, 
left to right: Mickey Riley, Olympic games 
champion; Joan Blondell, Warner Brothers 
star; Georgia Coleman, Olympic Games 
champion; and Dutch Smith, world-famous 
high diver of the 1932 Olympic team. This 
was taken at Lake Narconian. 



something- definite yourself about this engagement 
business before we faint? Seems as if we are afraid 
to believe anything anybody says any more, including 
the Scandinavian. 



N 



o\\ YOU'LL KNOW: Has anyone told you yet the 
name of Gloria Swanson'a new baby? Here it is 
. Michele Bridget Farmer. 



Sori Maritza tells us that extras in London are 
calhi! "crowd artistes." You see, they are paid 
less than in Hollywood. 

S\ME OLD JIMMY: Jimmy Cagney. in the whirl of 
sudden fame, may be too busy for interviews but he 
isn't too busy to give himself to his family and friends 
"who knew him when." His last trip to New York, 
which developed into a salary dispute, was primarily 
for the purpose of visiting his mother who was ill. 
The supposed "tough boy" of the films further disclosed 
his strong streak of sentiment by giving a surprise 
birthday party for his pal of many years' standing, 
Frank Rowan, until recently with M-G-M and now play- 
ing in the Broadway production of "Blessed Event." 



Ladies and Gentlemen, meet 
"Bouncy" Wertz, latest addition 
to the Hal Roach comedies. 
"Bouncy" was discovered 
through a newspaper contest. 

Strangely enough, the party was given right 
after the opening of "It's Tough to be Famous," 
at which Jimmy was almost pulled to pieces by 
the admiring fans. 

THIS IS REAL NEWS: Jack Oakie must 
sick or something. 
He goes around now in formal evening attire, 
tail coat, high silk hat and everything. 

And everybody takes a 
second look to see if he 
still doesn't wear a sweater 
in place of the convention- 
al stiff shirt. 

WHAT A GIRL! No use 
talking, Mitzi Green 
just isn't cut out for a one- 
o'clock town. When Mitzi's 
parents broke a long-stand- 
ing rule in allowing her to 
attend an after - theatre 
party given in her honor 
by Ben Bernie at the Col- 
lege Inn in Chicago, Mitzi 
fell sound asleep in the 
midst of the festivities and 
had to be taken home be- 
fore the party was half 
over ! 

Gary Cooper spent 

several months in New 

York following his 

trf.fi to Africa. Lupe 

"<? also there, 




Oafton Lonoei 



"Ouch-!-! the w-w-w-w-ater's 
c-c-c-cold stutters Roscoe 
Ates, RKO's comedian, as 
he starts for an early morn- 
i-g dip. And you may bet 
fha, w«nt no deeper. 

K ' - - ' n (?) suit. 



46 



The New Movie Magazine, July, 1932 










Irving Lippman 



When Joe E. Brown (once a 
big-league ball player) and 
Buster Keaton organized teams 
to play a benefit game, Jackie 
Cooper wanted to play, too. 
So they made him a mascot. 



appearing in Ziegf eld's "Hot-Cha." It is whis- 
pered that the torrid romance between these 
two had flared aneiv. 

Miriam Hopkins slipped into New York town un- 
announced, with a two months' leave of absence 
from picture worries. She looked completely worn 
out, and planned to spend most of the time on a 
rest farm. The publicity boys 
at headquarters were notified 
to "lay off" all interviews and 
leave Miriam with nothing to 
do but regain her strength. . . . 
Her next is to be a starring 
vehicle which Paramount is 
plotting and which Lubitsch 
will direct. 

JIMMY DUNN'S HANDS: Have 
»J you ever noticed the fine, 
graceful hands of Jimmy Dunn? 
To tell the truth, we hadn't un- 
til June Knight called our atten- 
tion to the fact. After all, June 
should know, as she and Jimmy 
have been holding hands over 
the long - distance for many 
months. We were with June the 
day word arrived that Jimmy 
had been knocked out by a pro- 
fessional pug while doing a 
prize - ring sequence for his 
latest picture. It w J ' ' J * \t 
June called - 
fact that Nautu tig 



Look closely, please! Yes, indeed, 
it is — Charles "Chic" Sale, in eve- 
ning attire. Out of character for 
the moment and -offending a 
premiere of l"itri!yfro&d. 

The New Movie Magazine, July, 1932 







Gaston Lonjjct 



Arlene Judge and Rochelle Hudson, two of 
the prettiest mermaids on the RKO lot, pose 
for the cameraman at Malibu beach. Ye 
olde editor sighs for a bathing suit (and a 
pair of water wings!) 



Jimmy, had given him the sensitive hands of an artist 
— which are of decided aid in putting over his dra- 
matic scenes, but which hardly equip him to be a boxer. 
Despite rumors to the contrary, June insists that her 
romance with Jimmy is still on. Three large photo- 
graphs of him, lovingly inscribed, which adorn the liv- 
ing room of June's lovely New York apartment, were 
added evidence. 

When rejection slips were wanted for Fredric 
March's character in "Merrily We Go To Hell," a 
note was posted in the scenario department at 
Paramount asking for a supply. Within tiventy- 
four hours they were deluged with more than they 
could possibly use. 

SUNBURN FENCE: Joan Crawford has put up a nice 
canvas fence in her back yard for privacy while she 
is acquiring that deep tan of hers. Look out, Joan! 
Circuses have been trying to make tents tight for years. 

AWAY FROM IT ALL: Laguna . . . Malibu . . . 
^* Palm Springs ! 

And now it's Big Bear Lake where the movie crowd is 
going to get away from it all. 

47 




Tony Amatto (Ramon 
Novarro) in a scene from 
"Huddle." In this picture 
Ramon makes a complete 
departure from all other 
roles he has played. 



Maureen O'Sullivan, tak- 
ing a much needed rest 
since her arduous role in 
"Tarzan," was snapped 
on leaving the club house 
for the links. 



George Hill is completing a mere shack of twenty- 
two rooms up there and likes the idea of being on the 
"rim of the world." 

Some say he and Lila Lee will spend a honeymoon 
there. 

Walter Huston has just bought a place nearby and 
Kit hard Dix is another settler. 




A. P. Photo 



nLUE HINT: Grace Moore haa decided to make 
*•' her Spring costumes all harmonize with her fa- 
vorite shade ol blue. She says blue is the 
color i" choose, for 11 can !><• combined with white, 
. red, yellow, orchid or peach. An economy 
hint, too, we take It. 

irlmi do you suppose Johnny H'< iasmulU r 
did tin first thing upon arriving in New York 
from Hollywood? Like the street-car conductor 
who rides on a trolley on his day off, Johnny, 
tin swimming champ, asked for a swim and 
a work-out as soon " : hi stepped off tin train. 

ANOTHER POSSIBLE STAR: Yonkera a sub- 
urb of New York has always been the butl 
of many a vaudeville joke, some asking just what 
are Yonkera. V<i from this outpost there has 
recruited one of the new stars to be. To vie with 
Dietrich and Garbo, perhaps, because she is Hun- 
garian, Zita Johann has just been sent westward 

to the city of glitter and fame by R.K.O, She 

screens simply swell, and we think she'll be a hit, 
in the talkies. She played Kut h ('halterton's part 
in the stare production of "Tomorrow and To- 
morrow." 

I I PE AMI SPAGHETTI: We ran into Lupe Velez, 
-*— ' who's in Ziegfeld's "Hot-Cha" show in New 

York and where do you suppose Lupe was? In 
an Eighth Avenue spaghetti joint with her si 
Queenie, where a tinpan pianola was banging out 

passe tunes- like the true atmosphere of dear old 
.Mexico, eh, what, SehoritaV 

Carl Ilarbaugh's ancestors once owned all of 
Harbaugh's Valley in Maryland. 

All of which is to get you in the proper mood 




When the Ziegfeld Follies of the Air was broad- 
cast from New York, Patricia Ziegfeld, Billie Burke 
and Will Rogers participated in the event by re- 
mote control from Los Angeles. Left to right are 
Patricia, daughter of the producer; Rogers, humor- 
ist and movie star; and Billie Burke, wife of Florenz 
Ziegfeld, and Patricia's mother. 



48 



Leila Hyams, pretty M-G-M featured 
player, enjoys the delights of the summer 
at Malibu Beach. Look at the contented 
expression of that terrier. Oh, well, who 
wouldn't be, on a beach with Leila? etc. 



for us to lead up to the famous wit's crack the 
other day. 

"If the boss cuts my salary one more time," 
Harbaugh said, "I'm going to have him arrested 
for slavery." 

WELL, HERE IT IS, ANYWAY: When the "Death 
Valley" unit went on location recently, a tent city 
was erected where all sleeping and eating was done. 

Bedtime arrived the first night, and Tom Mix ob- 
served that one of the prop boys was preparing his 
pillow and blankets to sleep outside on the sand. 
"What's the idea?" inquired Mix. 

The Neiv Movie Magazine, July, 1932 



^m 



"They can't fool me on this desert business," said 
the prop boy. "I'm going to keep cool. Years ago I 
used to know a man who lived in this country, and he 
told me that on the desert the heat was in tents." 

Carma Lita, great grandniece of the famous 

Adelina Patti, is 
dancing in Los An- 
g ele s' Mexican 
quarter. 

CONNIE'S HOTEL: Con- 
nie Bennett is plan- 
ning to make the Roose- 
velt Hotel, in Hollywood, 
her "town house." Write 
her there. 



NAME WANTED: Bill 
Seiter and Laura La 
Plante are sporting a new 
yacht (and in such times, 
too!), but they can't de- 
cide on a name for it. 
Bill wants to call it the 
"Panic." If you can do 
any better, send your idea 
in to us. 




International 



Charming Jacqueline 
Logan, who was for- 
merly a screen favor- 
ite, now writes and 
directs movie stories. 



SYLVIA'S NEW 
QUARTERS: If the 



dressing-room has any- 
_., . , B thing to do with it, Sylvia 

bidney is bound for tremendous success. She's occupy- 
ing the dressing-room formerly assigned to Pola Negri 
and Clara Bow. 



Depression is the mother of 



TfAN MAIL BUSINESS: 
■*• invention. 

Anyhow, there is a new racket in the film city. 

A few of the boys are digging through the' better 
ash-cans and digging out fan mail envelopes and sell- 
ing them to the tourists as mementos of their trip to 
Hollywood. The prices vary according to who the star 
is, where the letter was mailed from, etc. We are told 
that those addressed to comedians are available at the 
lowest of prices. 




i 




Wide World 



Petite Vina Delmar, famous author, and Joan 
Crawford confer on a new story that Miss 
Delmar will write for M-G-M. Joan will star in the 
picture. Miss Delmar is the author of the best- 
seller, "Bad Girl," and the more recent "Women 
Live Too Long." 



Ken Maynard, famous cowboy actor of the 
screen, shows Adrienne Ames, New York 
society girl who turned actress, and Mrs. 
Neil Hamilton, wife of the star, a few tricks 
with the lariat. 



Groucho Marx's young son came home from 
school recently and announced he was through. 
When asked to explain his reason, this was the 
answer: 

"Listen, pop! School is bad enough, but today 
Eddie Cantor made a personal appearance at 
school, and you'll grant me, I have to listen to 
enough jokes right here at home without that." 

DIZZY? Kurl Matschke, reputed to be a leader 
of Berlin and Vienna nudist cults, is in Holly- 
wood attempting to promote a no-clothes move- 
ment. He claims the weather conditions are ideal, 
and that Hollywood is easy pickings when it comes 
to dizzy ideas. 



SOUTH SEA ROMANCE: Walter Pahlman, one of the 
boys who went to the South Seas with the Fairbanks 
expedition, recently returned with a Polynesian bride 
tucked under his arm. Mrs. Pahlman, nee Simone 
Tarai, is the daughter of a Tahitian chieftain. We are 
told they were given a swank {Please turn to page 119) 



The Neiu Movie Magazine, July, 1932 



49 




The spirit of '76 salutes the spirit of '32 as typified by Madge Evans, pretty M-G-M player. This photo was taken during Madge's 
recent visit to a soldiers' home In California. July Fourth this year is the 156th anniversary of American independence. 



50 



The New Movie Magazine, July, 1932 




E. HALDEMAN-JULIUS in- 
sists upon knowing why 
they keep on . • . 



HIGH-HATTING the King's English 



EVEN though I have written something like fifteen 
books and edited almost three thousand volumes, 
I do not choose to pose as a stickler for fancy 
English. It always seems better to hope eternal- 
ly for simple, plain, direct speech. After all, the best 
English is that which has the "authority" of common 
speech. Our language is a beautiful one, when it is 
taken without fancy frills. 

Let us take Greta Garbo's "Mata Hari." One 
character plays the role of an aristocratic headman 
in the spy-racket. And this is what he dumped into 
my notebook — kill-om-eter, instead of kilo-meter. Only 
a genius at high-hatting our speech could have brought 
forth such an enormity. 

Another star who appeared with La Bankhead in 
"The Cheat," said ban-aM instead of good, plain, cor- 
rect bay-ne\ (banal), and that set me squirming. I 
detected immediately the fine London mistouch of 
Alabama's blue-blood. And what's more, he mis- 
pronounced that word three times in the same picture. 
That now famous "My car has went out of gas," is a 
much milder offense, though it was funny enough at 
that. This bull amused me; the other made me un- 
comfortable. 

A FAMOUS star in "Private Lives" worked hard 
to reach sophistication and smartness, and all the 
sort of thing that is intended to impress the yokels in 
the sticks with the air of cultivated ease. And yet, 
this beautiful, adorable creature said die-van instead of 
div-an! There is absolutely no authority for it, even 
when you go out and hunt up your own dictionary. 
In a news film I heard an announcer say deb-ris, for 



deb-ree (debris), and I am sure this has sent thousands 
of hill-billies on the downward path of high-hatted, 
wrong English. You see, I am not objecting to good 
honest "ain'ts" and "hadn't oughts" — they have their 
charm — it's the sure-fire, aristocratic intonation that 
burns me up. Why should our idea of good English be 
to tack on senseless, brainless frills? 

Another star — who ought to know better — pro- 
nounced it miss-c/teev-e-us, instead of wu'ss-chiv-us. It 
is just as easy to say it right. 

And a well-known actor — who spits on his hands and 
sweats himself into Londonese — -handed us indic-a-tive, 
instead of in-dic-a-tive ; and I defy him to find au- 
thority for this in any British dictionary, in or out 
of Oxford. If they only would take a little time to look 
in a dictionary — any dictionary — to make sure, they 
would avoid embarrassment both for themselves and 
for people like me. 

A character star, in a recent picture, played the part 
of a chief of detectives. He, and every other person 
in the movie, pronounced it home-is-ide, instead of 
hom-is-ide. I insist that the chief of a Homicide Squad 
should know better. 

I CAN forgive breaks like "more perfect" (as though 
perfection can be improved on), or "he got a di- 
vorce from his wife" (as though he could get it from 
anyone else), or "an old Civil War veteran" (as though 
one could bump into a young one), but I can't tolerate 
this endless use of eye-ther for ee-ther. Eye-ther can 
get by in Wales or in London district, but why force it 
on Americans? 

"Inquiry" is another word (Please' turn to page 99) 



The New Movie Magazine, July, 1932 



51 



Hollywood on Parade 





Photo hv ll'Ue World 



The most brilliant of all Hollywood's openings 
was that of "Grand Hotel." The stars attended en 
masse. Here you see Marlene Dietrich with her 
husband, Rudolph Sieber. She was given a great 
ovation by the fans assembled outside the theater. 

(Below) Marian Marsh was escorted by her brother, 
Eddie Morgan. 






Clark Gable brought Norma Shearer, who (in the 
background) is signing the registry of stars. 
Notice the microphones hung just above their heads. 




Wide W',,11 Photo 



52 



The New Movie Magazine, July, 1032 



New off-stage shots of the Stars 




■ 



At Malibu Beach's official 1932 opening — Warner 
Baxter and his wife and Mrs. Elizabeth Adams. 



At the opening of Malibu Beach — Buster Collier, 

"Skeets" Gallagher and Paulette Goddard, signed 

by Hal Roach from the Ziegfeld beauty bevy. 



Wide World Photo 



The New Movie Magazine, July, 1932 



53 




Garbo's chauffeur started the car, felt a 

soft kiss on the back of his neck, and 

passed out. 



Our Hollywood Boulevardier becomes a gallant knight — 

n Defense of GARBO 



Indignantly yours, 
HERB HOWE 



II od: 

BY the time this appears all will bo over. 
Greta aaya she is going home to Sveeden this 
nth. 

So you'll have to pardon the incoherence. The 
typewriter is choked up, and the wails issuing from 
the boulevardier'a tower have my hound Cellini in a 
yelping paroxysm downstairs. He thinks the master 
has gone oil' the nut or the wagon again. The master 
really should !>e in bed. But no, the show must go on! 
Wish I could sine; Pagliacci. 

f~\ F course Greta may have changed her mind. She's 
w a goddess. Personally. I'd rather see her go 

Sweden than Hollywood. And she is a lot more likely to. 

There is this consolation: I can assure you that 
Greta will not retire. Her work is the only thing that 
means much to her. She wants to be free to play the 
parts she chooses on screen and stage. Max Reinhardt 
made her an offer some time ago, to appear on the stage 
in Germany. And. of course, she can have her own 
picture company in Europe if she wants it. 

Greta is tired. She works with exhausting intensity. 
On the set between her scenes she paces up and down, 
her lower lip protruded, her breath issuing in quick 
sibilant gasps l>etween clenched teeth. She appears to 
lie suffering from stage fright. 

I-TER aloofness is due entirely to shyness. She's so 
<elf-conscious before people that she could not 
descend the stairs in a scene of "Mata Hari" until the 
extras were dismissed from the set. For such requests 
she is misjudged high-hat. 



I recall meeting Greta for the first time. She had 
been practicing a tango with Tony Moreno for "The 
Torrent." Tall, blue eyes, pleasantly gauche, she gave 
a firm hand-clasp. "Did you see me dance?" she asked 
breathlessly. 

"No," I said. 

"Tanks God," she said and took flight. 

\ \T IIILE Hollywood is partying, Greta is home taking 
** bottles of sedative. She suffers agony from in- 
somnia. She wakes up every morning at four and goe.s 
tramping for miles. When recognized she breaks into 
a run. Unlike her colleagues, she cannot endure the 
pursuit of her screen shadow. She's a humble person. 

t-JER avoidance of the press is due entirely to fear. 
A - 1 She was scared to death by interviewers. When 
she first arrived in Hollywood she was asked questions 
about her romance with Mr. Stiller. She thought she 
was being given a third degree. She didn't know it 
was an old American custom to ask impertinent ques- 
tions. Later when she met one of the inquisitors at 
a party, she grabbed her hat and ran out of the house 
with the alacrity of a rabbit beholding a bird dog. 

Greta says she wants to work in Europe. In Europe 
they do not ask about the love life, and privacy is 
possible. 

A great actress, Greta has no desire or ability for 
acting off screen, no liking for the ballyhoo that is 
considered the commercial asset of an actress in this 
land of Barnum. 

/^RETA has not liked the stories assigned her. She 
^-* quickly realized the futility of struggle, however, 
and has bided her time. When told that Ramon No- 
varro had been assigned a football picture called 
"Huddle," she exclaimed: "You are joking. It is true? 
Oh, will they never learn?" 






The New Movie Magazine, July, 1931 



SHE quits the set every afternoon ex- 
actly at five. She does not consider 
herself an artist, but a workman, and 
she wants the hours of a workman. 
Never has she claimed the prerogatives 
of an artiste. Marion Davies, John Gil- 
bert and others have their palatial 
"bungalows" resembling palaces on the 
lot. Greta has two rooms in the dressing 
barracks exactly like any contract 
player. 

She does not carry a watch, but she 
knows when it is five o'clock. Out of 
the corner of an eye she sees her colored 
maid, Alma, hoist a mirror several times. 
It is the signal. Greta stops abruptly, 
smiles sweetly, and murmurs "Adieu" to 
the company. "Adieu," and she hurries 
from the set, bounds into the closed car 
that waits all day next the stage on 
which she is working. Without a word 
from her, the colored chauffeur starts 
the car as he hears her step in. 

Once a supervisor smartly declared 
that he could get her to work overtime. 
He explained that there was a large 
crowd of extras costing the company 
money, and would Miss Garbo consent to 
remain. Miss Garbo bowed assent and 
remained. But she did not appear the 
next day or the next. "Sick," said Alma. 
Smart supervisors have not asked her to 
work overtime since then. 



SIMPLE, direct, natural, Greta is de- 
scribed as a child by those who know 
her best. She likes to laugh. Her humor is child-like. 
One of her favorite jokes, now, is a story about Mr. 
Jones, inebriated, asking a waiter if Mr. Smith had 
been at the restaurant that evening. 
"He has," said the waiter. 

"Well, what I came to ask is," hiccupped Jones, "was 
I with him?" 

/^RETA is an enigma to Hollywood. An atheist, you 
^^ might say. She's indifferent to the local gods. She 
abhors notoriety and cares little about money. With the 
possible exception of Alice Terry, I do not think there 
has been an individual in Hollywood with such indif- 
ference to personal position. Greta, without striving, 
is an observer of that Hindu proverb which says: 
"Work for results but leave the results with God." 

Hollywood, the artificial, suspects Greta of posing. 
Actually she is being herself while they have lost them- 
selves long ago. 

\\T HAT would you think if you were Greta's colored 
* » chauffeur and felt a warm nose cuddling your neck 
from the rear, just as you started the car for her lady- 
ship? You'd probably collapse, as the chauffeur did. 
When he revived and rolled 
his eyes round, he beheld 
Buster Keaton's dog in the 
back seat. The door of the 
car had been left open to re- 
ceive Garbo. Buster's St. 
Bernard likes to ride in nice 
cars, so bounded in. Being 
always on the alert for a soft 
step as a wordless signal, the 




"Pardon me while I go knock 
myself out with a powder 
puff," said Bob Montgomery. 



Drawings by 
Chamberlain 




chauffeur started the car, felt the kiss on the back of 
his neck, and passed out. 

Ty'IDNAPERS do not confine themselves to children. 
-*-*- Buster Keaton's beautiful St. Bernard is always 
being stolen. Buster offers a reward, and the dog is 
brought home. Now there is an engraved collar on 
the dog's neck. It reads: "Leave this dog alone, and 
he'll come home." 



TV/TY desk is stacked with letters asking me to do some- 
*■*■*■ thing for my old friend Ramon Novarro. So I 
did. I lunched with him yesterday in his dressing- 
room. 

Fans think Ramon has been getting a dirty deal. I 
agree with them. I've stuck a lot of feathers in the 
bonnet of Chief Thalberg, and so feel I have the right 
to pull a few out. Irving has not done right by Ramon. 
But, if you knew what Irving, a young, gifted and 
charming boy, has to endure, you would be more lenient. 
Ramon himself is partly to blame. He agrees to 
stories for which he is not suited. Ernst Lubitsch once 
said to me: "An actor only judges a story by how 
many times he can go 'eeeee' and 'aaaaa' — do his pet 
stuff." 

Ramon wanted to do that sap part with Greta in 
"Mata Hari." So don't blame Thalberg. 

I admire Ramon. I know he could be second to 
none if he did the things for which he is gifted. 
But Ramon does not know himself. 

For one thing, he wants to be operatic, when his 
genius is for folk songs. He can sing the ballads 
of Mexico as no one can sing them. He can lift 
trifles into art. But he wants to bellow like Tib- 
bett. He wants to be the clown with the breaking 
heart, whereas he was born to be a gay troubadour 
■ — like Francis of Assisi. 

"CTRANKLY, Ramon has irritated me. If I didn't 
-*- like him so much as a person, admire him so 
much as an artist, he wouldn't. 

Ramon, when I first knew him was unique. A 
poetic, sensitive, monastic person. They wanted 
to make him a successor to Valentino. The two 
fellows were poles apart. (Please turn to page 93) 



The New Movie Magazine, July, 1932 



55 



ANOTHER CHAPTER IN THE SERIES OF HOMES OF THE STARS 




The graceful dignity of the southern Colonial architecture was followed in the re- 
modeling of the exterior of the Hollywood home of William Haines. It took months 
of careful planning to give what was once one of the older uninteresting houses of 
Hollywood the charmingly simple lines of the Colonial. 



56 



The Neiv Movie Magazine, July, 1932 




A view of the garden stairs with their simple wrought-iron grille-work. 

Bachelor Quarters 




William Haines, versatile M- 
G-M player, re-designed and 
built this delightful Colonial 
home. He is a collector of 
antiques and rare old vases 
which he has placed within its 
inviting portals 



BILL HAINES has been collecting furniture and 
antique bits since the days when he was a strug- 
gling and ambitious young bond salesman in 
New York. 
Of course, in those days, the things he collected 
didn't amount to much. He could only look through 
art dealers' windows and wander around antique shops, 
gazing at the priceless objects and admiring them. He 
had to content himself with an occasional bargain in 
an old print or an odd piece of bric-a-brac. 

Almost everyone is some kind of a collector. It may 
be of perfumes, or dolls, or firearms, or pewter, or paint- 
ings^ or books, or neckties. With Bill it was always 
furniture and lovely, graceful old vases and silver from 
past centuries. 



The New Movie Magazine, July, 1932 



From this hobby of collecting Bill's interest natur- 
ally drifted to homes and houses. Antiques must have 
a place to stay. And Bill made up his mind that some 
day he would have just the sort of home he wanted, a 
place which he could decorate and furnish as a setting 
for the things which he had collected. 

PHE result is a white stucco house, rather long and 
rather narrow, on one of the quieter streets of Hol- 
lywood. Its exterior follows the graceful, simple lines 
of the New Orleans colonial period. There is something 
almost austerely beautiful about the severity of its 
white doors, its wrought-iron grille work, its black- 
shingled roof. 

Having been designed as a town house, Bill's home is 
not surrounded by gardens and flowers. Its beauty and 
color are sheltered behind the plain white stucco walls. 
A brick-paved courtyard, walled with whitewashed 
bricks, is tucked away at the back of the house, with 
a narrow iron-balustraded stairway leading to a sec- 
ond-story porch. Shrubbery fills the corners of the 
courtyard with touches of green and vines trail across 
the white walls, and here Bill entertains his friends on 
warm afternoons and evenings. But for the hot sum- 
mer weather, when cool, green gardens are so inviting, 
Bill slips away to a beach cottage or a mountain cabin. 
The house belongs to the city and to the time when New 
Orleans masked its gaiety and color behind houses of 
colonial simplicity. 



57 




r"»HIS home of Bill's did 
not spring, full-grown, 

from an architect's draw- 
It emerged gradu- 
ally and after month- of 
planning. In fact, it has 
through two eras. 
In the first place, it was 

one of the older Hollywood houses, a rather plain, un- 
esting place, but built substantially and securely 
with deep foundations and heavy timbers. That was 
what first attracted Bill's interest. It looked so solid 
and permanent in a country of fragilely lovely Spanish 
and Mexican and French houses. Bill, you must re- 
member, hails from Old Virginia, where they build 
stand through generation after generation. 
Bill bought the place and lived in it for a while 
as it stood, while he continued with his collecting and 
- for the house he wanted eventually to own. 



In the second floor sitting-room the walls are covered 
from floor to ceiling in knotty pine. The carpet is 
eggplant velvet and the draperies are glazed chintz 
with an eggplant background and a bright floral de- 
sign. The furniture carries the graceful lines of the 
18th century English. 




Then, after a while, he 
moved bag and baggage 
into an apartment, and 
started to work, creating 
the home in which he 
wanted to live and which 
would serve as a setting 
for his antiques. 
It wasn't an easy task, this transformation of early 
Hollywood into colonial New Orleans. Walls were torn 
away, rooms were added, the entire inside of the house 
was completely replastered and redecorated. The only 
things which remained intact were the strong founda- 
tions, the heavily substantial supporting structure and 
the simplicity of the roof lines. But it was worth the 
work and the waiting. 

r ~PHE interior of the house follows the general feeling 
L of 18th century English homes in the sturdy sim- 
plicity of the woodwork and the low wains- 
cotings, in the high ceilinprs and delicately 
fragile crystal chandeliers, in the paneled 
walls and wide fireplaces. But Bill has not 
clung exclusively to this period in the fur- 
nishings and decorations. Through the wide 
rooms are scattered furniture and decorative 
bits from every period, including the ultra- 
modern. 

"The interest in a room or in an entire 
house lies in mixing periods," Bill believed 
when he furnished his own home and still 
believes now, when he is successfully decor- 
ating the houses of his. friends. "There is 



The bright wallpaper used above 
the wainscoting in this guest room is 
charmingly quaint in its design. The 
mahogany American Federal bed is 
draped in filmy white. An early 
American rocker and a Chippendale 
chair and mirror add interesting 
notes to the room. 



58 



The New Movie Magazine, Jvly, 1932 



nothing more monotonous than a place 
which is absolutely true in every detail to 
any particular time. Of course, you can't 
just throw things together hit-or-miss and 
expect to be successful. You have to choose 
furnishings which blend in style and color- 
ing or which offer a striking and colorful 
contrast. 

"When you do a home, you must do it 
with the feeling that it has been lived in 
for years," Bill went on with the enthusi- 
asm of a man talking about his hobby. 
"The rooms must look as if there might be 
a pair of carpet slippers beside a chair, and 
a pipe or two on the table. There is noth- 
ing more depressing or stilted than a look 
of glaring newness. 

"To many people who have lived in a 
period of overstuffed furniture and steam- 
heat radiators, old chairs and sofas, an- 
tiques of any kind seem to spell discomfort. 
It always surprises them to find how very 
comfortable a graceful old chair or sofa, 
dating back long before the days of their 
great-grandparents, can be. There is so 
much of a sameness about modern furni- 
ture. Antique pieces give a color, a differ- 
ence, a touch of interest to rooms. And 
you can sleep just as comfortably in an 
Early American field bed, read with just as 
much ease in a deep Louis XV chair, eat 
just as hungrily on a graceful Sheraton 
table, as you can on a twentieth-century 
bed, chair or table." 

BILL'S house is not large. To enter it, 
you walk up a shallow flight of brick 
steps and through a white-paneled door 
with lock and knocker of solid brass, and 




' 



In the rather formal drawing-room in the 
home of William Haines, the walls and 
woodwork are painted a cool Georgian 
green, with carvings in gold leaf. The fur- 
niture combines the simple Louis 16th and 
the more elaborate Venetian. 



The low ivory wainscoting in the dining- 
room is topped by Zuber pictorial wall- 
paper done in natural colors. A tan and 
brown Aubusson rug partially covers the 
parquet floor. The chairs are Directoire, 
and the table and buffet are Sheraton. 



twin side-lighting windows with quaint glass panes. 
Beyond this door lies a small, square entrance hall 
which leads into a Georgian green drawing-room. This 
is the only really "formal" room in the house. It is a 
drawing-room in every sense of the word, especially as 
the people of 18th century England thought of draw- 
ing-rooms, a place in which to receive and entertain 
casual guests and acquaintances not privileged to go 
beyond the formal exterior of the household. 

The drawing-room has wainscoting and woodwork 
of a clear, cool Georgian green, instead of the ivory 
white of the rest of the house. Even its carpet is 
green. The delicate carvings of the woodwork are gold- 
leafed, and the long, heavy draperies at the windows are 
made of gold damask. The simplicity of the walls is 
broken only by two lovely gold - framed Directoire 

The Neiv Movie Magazine, July, 1932 



mirrors and a few rare old paintings. Among the 
priceless pieces of furniture in this room are an 18th 
century Venetian commode, upon whose green surface 
are embossed designs in exquisite lace and flowers, a 
Louis XVI sofa and twin Venetian stools, covered with 
gold and red satin, and graceful Italian Louis XV 
chairs upholstered in gold moire. The long, high- 
ceilinged room is cool and dignified, with just a few 
touches of vivid reds to add life to its green-and-gold 
beauty. 

By opening a wide door and walking down four shal- 
low black marble steps, you are in the dining-room, 
directly beyond the drawing-room. Here the wains- 
coting* and doors are ivory white, with colorful pic- 
torial wallpaper by Zuber. The long polished dining- 
table and buffet are satiny (Please turn to page 75) 

59 



The NEW MOVIE Magazine's 



RADIO 




Phillips Lord (Sr fh 
Parkcrjalmostbe- 
camc a novelist 
before clicking 
on the radio. 



Silent Crooner : You can hear 

.-. Imosl a n.v t h i n r about any 
iiicpvn- or radio star, mostly good 
and most!] bad, and Rudy Vallee 
is certainly n<» exception. Now 
the tople who used to go 

around telling everybody thai 
Rudy was a multi-millionaire 
are going around telling other 
people he's worth only a fraction 
of a million today. Rudy Bays 
nothing, buys a $76,000 or $100,- 
000 mansion in Beverly Hills, 
California which certainly 
didn't help the gossip that lie 
ami Fay were growing colder — 

and just keeps on croonin'. 



Why, Oh, Why ? Someone out of turn asked ns why 
the Funnyboners were what they are. and our unreason- 
able curiosity was instantly excited. We investigated 
: oroughly as a Hoover Commission and dug up 
era! highly important facts, to wit: 
i I Funnyboner Bunny Coughlin was once dis- 
honorably dismissed forsinjnnK in the Boston Elevated 
Company's offices; two years later he was re-hired at 
much money to sinir on the company's radio program. 
(2) Funnyboner Gordon Graham was employed as 

dramatic critic of the I'tica I X. Y. I 06s< rn i-Dispatch. 

Between times he acted in a I'tica stock company. 
Naturally, he losl both jobs. 

Funnyboner Dave Granl organized a dance band 

and took it as far as Duluth, Minn., in vaudeville. 
Everj one walked hack. 

Now you see why they are the Funnyboners. 

Things we can't help hearing about : Al Jolson 
linking up radio-wise with ".Music That Satisfies." 

(lark Cahle beinjr offered $10,000 a week for radio 
by a cosmetic company. 

Clara Bow the same amount by another advertiser. 

Jackie Cooper and Cliff (Ukulele Ike) Edwards flirt- 
ing mildly with the air magnates. 

True Love Department : Valentin Perera, Spanish 
movie star, rescued Grace Moore's quoit from going 

overboard off the He de France. Six weeks later 

honeymoon. 

Morton Downey, then movie actor, made his director 




Phil Dewey is very 
much at home with 
music. His parents and 
ten brothers and sis- 
ters are musicians. 



Don't make Lee Morse 
walk home from a ride. 
Her •father is a preacher 
and one of the original 
Texas Rangers. He'll 
get you either way. 








Buddy Rogers, who can play any instrument, started 
playing the trombone when he was nine. He bor- 
rowed it from his brother — when Brother was cway. 



60 



The New Movie Magazine, July, 1932 



RAMBLES 



Chats about the stars of the 
microphone and television screen 







Nan Dorland is the red-haired girl who takes you on 
radio visits to the homes of the movie stars. 



The New Movie Magazine, July, 1932 



promise him a beautiful leading 
lady. Up stepped Barbara Ben- 
nett. They were married within 
three weeks. 

"Bud" Hulick, Colonel Stoop- 
nagle's. adjutant, introduced 
Wanda Harte, singer, over the 
radio, never having met the 
lady before. Within two weeks 
— matrimony. 

Ted Husing proposed to Helen 
Giffords the night he met her. 
She said "Yes," and then made 
him wait for two years to find 
out what she meant. 




For the day when 
the crooner 
passes, Lanny 
Ross is studying 
law at Columbia. 



The Tastyeast Jesters were 
out a-golfing. A small boy 
hung around, watching every shot intently. 

"You can't learn anything from us," one of the 
golfers told him. "We're only beginners." 

"I ain't trying to learn," said the boy. "I'm going 
fishing and I'm waiting for you to dig up two more 
worms." 

Their Pasts: Before Singin' Sam (Harry Frankel) 
went on a shaving cream program, he used to sing for a 
lawn mower company, which was the same business, in 
a way. . . . Lanny Ross was born Launcelot, but his 
football coach would not let him play on the team unless 
he changed his name to Lanny. 

Good Luck : Don't be afraid to propose to Rosa 
Ponselle just because she wears a wedding ring. She 
is not married. The ring is only a luck band. She 
found it in a railroad station, put it on for fun, and 
that night at the theater she made such a success that 
she has never taken it off since. When she marries 
she'll wear two rings. 

Radio Oddities : Arthur Pryor has never discharged 
a member of his band. . . . Jack Fulton, Paul White- 
man's crooner, was once a laundryman in Phillipsburg. 
Pa. . . . Milton J. Cross used to be a soloist in an un- 
dertaking parlor. . . . When John McCormack was 
getting under way, operatically, in Italy, he called him- 
self Giovanni Foli — because no one could spell his real 
name correctly. . - . Snowville, N. H., the Snow Vil- 
lage of the Soconyland (Please turn to page 115) 



Frank Parker started 
singing one day while 
riding in Central Park, 
and his horse reared 
up and threw him. 





When Welcome Lewis 
gets a new song, she 
goes tor a drive in the 
country to work it out in 
her mind. 

61 



MUSIC of the SOUND SCREEN 



By JOHN EDGAR WEIR 




LEE TRACY 




"Blessed Event" with Lee Tracy and 
Mary Brian - Ruth Etting and Eddie Can- 
tor - the new long - playing records. 



AM ERICA will -nun have ;i chance to see the talking-pid 
l\ version oil the recenl Broadway hit, "Blessed Event," 

^^_ which Warner Brothers-Firs1 National arc producing 
and for which the De Silva-Brown-Henderson music 
numbers will be used. Lee Tracy and Mary Brian will have 
two of the star rule-. Anrett Sparks and Frank McHugh, 
who played the reporter in "The Fronl Page," will also be 
featured. From all accounts it should make a feature worth 
waiting for and bring to the screen some particularly tuneful 
melodies. 

nUTH ETTING is said to be a possibility for Eddie Cantor's 
A^ next picture, and if this is so it ought to help the pro- 
duction a lot- without any disparagement to Mr. Cantor. 
Recently Miss Etting finished two movie shorts within two 
weeks. 

THIS, I believe, is the first record Guy Lombardo has 
recorded for Brunswick, and you are going to like it. "Too 
Many Tears" is the title and the number is well on the way to 
hitdom. Guy's arrangement is top-notch, and if you heed my 
advice, you'll get this one. Carmen Lombardo sings the vocal 
refrain. The other side is also by Guy Lombardo and his 
orchestra, playing, "Love, You Funny Thing." This is a 
little faster and makes a very agreeable contrast. Again we 
hear Carmen singing the vocal. (This is a Brunswick record.) 

LTERE is the best vocal I have heard for months, "Was 
■*•-*■ That the Human Thing to Do?" sung by the famous 
Boswell sisters. This record has an amazing variety of 
rhythms and not a dull spot in it. The Dorsey brothers 
furnish the musical accompaniment. "Put That Sun Back in 
the Sky" is the tune on the other side, and again we have the 
Boswell sisters doing the work. When you buy this record 
you get your money's worth. ("This is a Brunswick record.) 

T— JERE is one of Columbia's new longer records, playing 

almost twice as long as the conventional type of ten-inch 

record. On one side we have (Please turn to page 79) 



MARY BRIAN 



The Month's Biggest Hits 

'Too Many Tears" (fox trot) 

Played by Guy Lombardo and Ids Royal Carta- 
dia ns — (Brunswick) . 



"Was That the Human Thing to Do?" (vocal) 
Sung by the Boswell Sifters — {Brunswick). 

Medley from "One Hour with You" (fox trot) 

Played by Eddie Duchin and his Orchestra — 
(Columbia) . 

"I Say It's Spinach" (fox trot) 

Played by Wo ring's Penneylvanians — (Victor). 



62 



The New Movie Magazine, July, 193i 







Irving Lippman 
LITTLE DICKIE MOORE, Warner Brothers-First National featured player, who recently finished his part, in Jimmy Cagney's picture. 
"Winner Take All." Although he is less than six years old, Dickie can emote and perform with the best of them. Notice the non- 
chalant manner in which he faces the photographer. 



The New Movie Magazine, July, 1932 



63 



NEWS and PICTURES of 




As You Desire Me — Metro-Goldwyn-Mayer: Glam- 
orous Garbo as a cafe entertainer who, induced to 
impersonate a nobleman's long-lost wife, finds regen- 
eration in her love for him. Supported by Melvyn- 
Douglas, Eric Von Stroheim, Owen Moore, Hedda 
Hopper and Albert Conti. From Luigi Pirandello's 
play. A stage success here and abroad. Directed by 
George Fitzmaurice. 



Advance information on what the 



I I 



I 



The Bird of Paradise — RKO: A most pretentious 
production. From the famous play by Richard Walton 
Tully, featuring Dolores Del Rio, Joel McCrea, John 
Halliday, Skeets Gallagher and Creighton Chaney, 
son of Lon Chaney. All of the exterior scenes made in 
Hawaii. Directed by King Vidor. 




Strange Interlude — Metro-Goldwyn-Mayer: Norma 
Shearer starring in Eugene O'Neill's great psycho- 
logical play — a wonderful and unique drama of 
human emotions. With Clark Gable, Alexander Kirk- 
land, May Robson, Maureen O'Sullivan, Henry Wal- 
thall. Directed by Robert Z. Leonard. 



r,4 



Movie Crazy — Paramount: Harold Lloyd! His first 
in two years. Picturing the misadventures of a fame- 
chasing boy in Hollywood. Constance Cummings, 
Harold Goodwin, Kenneth Thompson, Louise Closser 
Hale and Mary Doran in support. Harold doesn t 
make many of them, but when he does, he's almost 
always sure-fire. Directed by Clyde Bruckman. 

The Neio Movie Magazine, July, 1932 



mm 



FORTHCOMING FILMS 



Hollywood Studios are doing 




State's Attorney — RKO: John Barrymore, brilliant 
attorney, who marries for position, then discards his 
wife for his old sweetheart. Supported by Helen 
Twelvetrees, Jill Esmond, William Boyd, Mary Duncan, 
Ralph Ince and C. Henry Gordon. And directed by 
George Archainbaud. 



Prosperity — Metro-Goldwyn-Mayer: Polly Moran 
and Marie Dressier as battling mothers-in-law whose 
children are married to each other. We need say no 
more — except that you'll also see Anita Page, Wal- 
lace Ford, Harry Beresford, Otis Harlan and Jerry 
Tucker. If you judge by their past performances, this 
comedy will be one of the funniest of the season — 
and then some. Directed by Leo McCarey. 




Big City Blues — Warners-First National: Writ- 
ten by Ward Morehouse, the New York column- 
ist, this is the adventure of a small-town boy (Eric 
Linden) in New York, with Joan Blondell as the chorus- 
girl love element, both aided by Josephine Dunn, 
Evalyn Knapp, Grant Mitchell and Inez Courtney. 
Directed by Mervyn LeRoy. 

The New Movie Magazine, July, 1932 



Competition — Warners-First National: A homely, 
rural yarn, of the city boy (David Manners), who goes 
to the small town to make good, meets the girl (Ann 
Dvorak), is downed by his small-time competitor (Chic 
Sale) — and everybody's happy. Noah Beery and Ray- 
mond Hatton are also in the cast. Directed by Erie 
Kenton. 



65 



WHAT'S GOING ON IN MOVIELAND. All of the latest flashes 




Society Girl — Fox: James Dunn as the roughneck 
who marries the hothouse society girl (Peggy Shan- 
non). With Lee Tracy in the cast. And directed by 
Sidney Lanfield, who made "Dance Team" with Jimmy 
and Sally Eilers. It you like Jimmy Dunn you will 
find him in his element here, especially when he is 
teaching the tender bud what he considers to be the 
meaning of real love. And does she like it! 



Back Street — Universal: Fannie Hurst's great novel, 
with Irent Dunne and John Boles heading the cast. 
Supported by Juno Clyde, George Meeker, William 
Bakewell, directed by John Stahl. A groat story, ex- 
c<ll«nt cast and excellent director. This is not unlikely 
to be one of the outstanding films of the new season. 





Attorney for the Defense — Columbia: Edmund 
Lowe, supported by Evelyn Brent and Constance 
Cummings in the story of a District Attorney who 
sends an innocent man to the chair, then resigns to 
battle for the underdog. Eventually he becomes a 
great criminal attorney and defender of the down- 
trodden. Directed by Irving Cummings, who directed 
Lowe in "The Cisco Kid" and "Old Arizona." 



Man About Town — Fox: Warner Baxter, aided by 
Karen Morley, Conway Tearle, Alan Mowbray and 
Lillian Bond in a dramatization of the novel by Deni- 
son Clift. Set in New York and Washington, with a 
secret service background. Plenty of society atmos- 
phere and a touching sequence when the two old 
friends are forced to part as enemies. Directed by 
John Francis Dillon. 




66 



The New Movie Magazine, July. 1032 



of the newest film-plays in production in the major studios 



Horsefeathers — Paramount: The Four Marx broth- 
ers have inherited a college. Groucho (who plays 
Zeppo's father) elects himself president. Zeppo has 
been attending for eight years, and no diploma. And 
no Thelma Todd. And can you imagine what a great 
opportunity for blonde-chasing she gives Harpo! 
Directed by Norman McLeod. 





Westward Passage — RKO: Margaret Ayer Barnes' 
novel. Ann Harding tortured between two loves, her 
first husband (Laurence Olivier) and the second (Irving 
Pichel). But the second husband's steadfast love and 
generous understanding brings him ultimate happiness 
— and all is well. All with an unusually strong cast of 
Zasu Pitts, Juliette Compton, Irene Purcell and Nance 
O'Neil. Directed by Robert Milton. 



Huddle — Metro-Goldwyn-Mayer: Ramon Novarro 
as rough-and-tumble Tony Amatto at Yale, playing 
football. Madge Evans and Una Merkel cheering, 
and Ralph Graves, Frankie Albertson and John 
Arledge supporting. Most he-man role of Novarro's 
career. You have never seen Novarro in any role 
that even faintly approaches this. Studio officials 
have been criticized for casting him in it — but we 
shall see. The part has already earned him the name 
of "the Singing Quarterback" — except that he 
doesn't sing. Directed by Sam Wood. 









The Jewel Robbery — Warners-First National: Here 
we see William Powell as the devil-may-care thrill 
robber, and Kay Francis as the flirtatious baroness he 
first robs then loves. Hardie Albright and Henry 
Kolker in the cast. Set in the capitals of Europe, it 
has glamorous settings, thrills and a high degree of 
romance. Directed by William Dieterle. 

(Please turn to page 116) 



The New Movie Magazine, July, 1932 



67 




BAKED 
BEANS 

d la Oliver 



As good a cook as she is a 
comedienne, Edna May Oliver 
gives the old Boston recipe 
used by her mother and 
her grandmother 



BOSTON baked beans invade even 
Hollywood with Edna May Oliver to 
back them and cook them. Tl 
thousand miles separate the home of 
the bean and the cod from the movie capita] 
but Miss Oliver has not forgotten the cus- 
toms of her native city. 

So it isn't to be wondered at that Satur- 
day night never comes round without find- 
ing a steaming pot of baked beans waiting 
to be placed before the mistress of the 
household. 

Miss Oliver's recipe is the same one used 
by both her mother and her grandmother in 
the preparation of this delicacy. 

Either California pea beans or a combi- 
nation of these and yellow-eyed beans are 
preferred by Miss Oliver. 

The beans are soaked over night in cold 
water. Next morning they are placed in a 
kettle and covered with cold water to which 
a pinch of baking soda has been added. 
They are permitted to come to a boil, and 
remain cooking until the beans are bursting 
through their shells. 

When this point is reached, the beans are 
removed from the fire and rinsed. They 
are mixed with generous pieces of salt pork, 
a chopped small onion, a tablespoon of mo- 
lasses and a pinch of salt. 

After being placed in an earthen bean 
pot, the mixture is covered with water and 
placed in the oven. A lid should be placed 
over the bean pot until the last stage of 
cooking is'reached. 

Bake the beans all day in a very slow 
oven. Look at them from time to time, add- 
ing more water if they seem to be cooking 
dry. 

About half an hour before time to serve, 
remove the bean pot from the oven, and let 
the contents settle. 

Then serve . . . and prepare to hear any 
guests fish for future invitations to a New 
England baked bean dinner. 



Miss Oliver is exercising the cook's 

privilege — smelling. A capacious 

apron is an important part of her 

kitchen equipment. 



Elicood Brclrll 



68 



The Neio Movie Magazine, July, 1932 



Hollywood 

Goes 
A -partying 



T] 



Come with us to the mer- 
riest festivities of the month 

By Grace Kingsley 



\ HE Hollywood party season seems to be setting 
in with unusual severity," remarked Billy Bake- 
well, Hollywood's Peter Pan, as we surveyed the 
crowded Garden Room at the Biltmore, where 
those irrepressible Thalians were bursting forth in 
their semi-annual ball. 

The Thalians are growing up. They started off as 
a bunch of kids who met at the Montmartre once a week 
and played tricks on each other. Now their Garden 
Room party was as decorous as graduation exercises. 
But they were a gay and charming lot anyway, and 
include some of the nicest of the younger players. Any 
fond mamma, worried about letting her picture-struck 
daughter go into the films, would at once have eased 
down in her chair, if she looked this gathering over, 
and put her approval on daughter's ambitions. 

"Oh, there's Thelma Todd, and there's Claudette 
Colbert — oo-oo! — everybody!" exclaimed Nina Quar- 
taro, who had come with me and her brother Jack, and 




Clark Gable is always 
polite, good-natured, 
and shy of conceit. 
And he's an easy mark 
for autograph collect- 
ors. Here he is sign- 
ing-up for a small-boy 
admirer ai a Holly- 
wood theater opening. 



was as enthusiastic as though she weren't herself a 
player and one of the most beautiful girls at the party. 
She wore white velvet, trimmed in heavy old real lace, 
with brilliant ornaments. 

"Jack Oakie seems to be settling down to one girl," 
we remarked. 

He was with Patricia Wing, actress and writer, a 
charming girl with whom we have seen him at several 
parties lately and very attentive. We thought Jack 
favored blondes, but Patricia is a red-head. 

Jack was in Roscoe Ates' party, Roscoe and his wife 
entertaining twenty guests at a long table. Billy Bake- 
well was in their party, too, escorting Polly Ann Young. 

Polly Ann Young, by the way, was one of the pretti- 
est girls at the party. She wore a black satin ensemble, 
decollete evening gown, with a short jacket and a 
rhinestone belt, and black slippers. Roscoe's daughter, 
Dorothy, was charming in a beige silk, tight-fitting, 
with Eton jacket. Eton jackets, by the way, are the rage, 
even with evening gowns. And many actresses arrived 
in either white fur jackets or fur-trimmed ones. 

Then there is the lei rage, a lei being a Hawaiian 
wreath such as is thrown around the necks of arriving 
and departing travelers in Honolulu. 

{Please turn to page 107) 




You would have had a great time at the Gleasons' picnic, on 
their new ranch. Here you see — in a picture posed especially 1 
for New Movie Magazine — Ken Maynard, then Mr. and Mrs. 
Neil Hamilton (seated), and in the back row Dorothy Dix, Donald 
Cook, Mary Forbes, Ruth Weston, Lucille and Russell Gleason. 



Thelma Todd and Claudette Col- 
bert, at the big Hollywood party 
given by the Thalians — both pos- 
ing especially for the camera of 
New Movie Magazine. 



Photo lv Stags 




The New Movie Magazine, July, 1932 



69 




* 



S a 



2 W 



Jy I 3 3 — The now bib scarf, 
to wear at a pajoma top or 
under a jacket in placo of 
a blouto, and throo othor 
mott ingenious scarfs may 
bo made with tho aid of 
this circular. 




Jy I 34 — This circular gives 
full directions for crochet- 
ing tho amusing little caps 
every one is wearing at 
smart resorts. 






J/139 — This circular shows how 

to mako tho now belts from 

bright-colorod folt. 






W 



Jy 1 40 — Wear your birth flower 

for luck, on scarf, handkerchief or 

lingerie. This circular gives you 

full directions. 



Accessories for Summer 

You can add the latest touches to your vacation wardrobe with 
the aid of our New Method Circulars 



..-- 




Jy I 35 — Here are directions 
for making terry-cloth beach 
cape that fills a dozen needs 
in the vacation wardrobe. 




Jy I 36 — Make your own 

duffle bag and hat case 

from diagram patterns given 

in this circular. 




Jy I 38 — Designs for stars, 
chevrons, anchors and 
other nautical emblems for 
your summer wardrobe are 
given here. 



Write to Miss Frances 
Covvles in care of this 
magazine, enclosing four 
cents for any one circular, 
ten cents for three circu- 
lars, or twenty cents for 
all ten circulars. Re 
sure to indicate which 
circulars you want by the 
numbers given beside the 
descriptions. 



Jy I 37 — Its the latest 
thing to wear your 
monogram on your 
blouse, your pajamas 
or scarf. This circular 
gives directions. 




Jyl4l — From I '/j yards of 
cotton print you can make 
this new style scarf, cap 
and sleeve-trim to match. 



Jy 1 42 — Fagoted collars and 
cuffs of latest design can 
easily be made from dia- 
gram and directions given 
in this circular. 



The New Movie Magazine, July, 1932 



HE 




Relax in the sun's rays, says Miss 
Landi as she turns toward the 
west and gazes out of her open 
doorway. Below you see Miss Landi 
in action on the tennis courts. 



By ANN BOYD 




PLAY and then REST 
for Beauty 




games 
for health 



HAVING achieved her pin- 
nacle among the stars Elissa 
Landi has turned her atten- 
tion to her place in the sun. 

Get out of doors, is her advice 
to those who would have health and 
beauty. 

"Exercising out of doors is always 
best, of course," says Elissa, "and 
my pet 'games for health' are riding 
horseback, swimming, dancing, play- 
ing tennis and walking. And I believe these should be 
practiced whenever it is possible." 

Swimming and walking are two exercises in which 
every girl should indulge, she tells one. The business 
girl, too, can always manage to crowd a few games of 
tennis into a busy week ; or a trip to the seashore or a 
swimming pool during the summer season. 

"Then," says Elissa, "when you are home alone, turn 
on some music and dance!" 

\/rISS LANDI studied the Russian ballet for three 
iV |- years and, with all her other time-absorbing ac- 
tivities, has managed to provide a place for dancing 
exercises. 

"For grace and poise, try dancing to soft, waltz 
rhythm," she suggests. "Wave your arms gracefully, 
curve your body and glide as lightly as you can. And 
don't forget to stretch your body. Stretching is really a 
joy! Did you ever try it?" 



Elissa Landi gives her 
program of summer 



and relaxation 



and beauty 



Tennis is a favorite game for 
health with Miss Landi, second only 
to her love of horseback riding. 
Asked what she does for relaxa- 
tion after strenuous exercise she 
promptly replied: 

"Two things : I have my hair 
brushed and then I take a sun bath. 
Having my hair brushed, together 
with a bit of massage at the base of 
the neck, is most refreshing after a 
session of exercise in the open air. And as for sun- 
bathing! How I have enjoyed it since I have been in 
Hollywood ! 

"I wish I could impress upon people the importance 
of sun bathing. Your sun bath must be in the open — 
not through glass. Even in an apartment which gets 
the sunshine one may raise the windows, stretch out on 
the floor, if there is no couch or day bed." 

TN taking sun baths atop her Hollywood home, Miss 
•■- Landi wears a pajama costume of the sheerest sort of 
pongee. She feels she can stay out of doors much longer 
if she wears this slight protection against burning. 

"In taking a sun bath," she says, "a gii'l should al- 
ways remember to use plenty of nourishing cream on 
her face to prevent harshness and those fine lines that 
often follow exposure to the sun. And, if one burns 
easily, there are plenty of good creams on the market 
that are excellent preventatives." 



The New Movie Magazine, July, 1932 



71 




Renderings by 

Scholl Lowii 



First Steps with 
Our Colonial House 



THERE is no longer any question about it. The Colonial house 
has polled SO many votes in our house-building contest that 
we arc thoroughly convinced thai it is the type of dwelling 
most acceptable to the majority of discriminating Americans 
throughout the country. It is admirably suited to present-day 
building methods and modern living conditions, and the sort of 
house, too, that visiting Europeans are most interested in, because 
than any of the other types — French. Spanish. English — it is 
a thoroughly American product. The up-to-date version of the 
Colonial house and the modern office skyscraper are, in fact, the 
two most distinguished achievements of present-day American 
architects. 

It is an honest type of house in every way. and, unlike many 
house- • •: recent construction, presents as pleasing a view from the 
sides and hack as it dnes from the front. True to the Colonial 
traditions that inspired it. our Colonial house is built of wood, 
either shingles or wood siding being used for the exterior construc- 
tion, with fireproof shingles for the roof. 

Much of the charm of the house depends on the paint, which 
should be either white or cream, contrasting with the dark-green 
painted shutters. By selecting paints of superior quality and set- 
ting aside a small amount of money annually to cover the cost of 
ating at a future date, the owner may be sure of retaining 
indefinitely the immaculate freshness that is one of the chief charms 
of the Colonial style of domestic architecture. 

Next month's issue of this magazine will give illustrated in- 
formation about the walls, floors, woodwork and other interior 
struction of our Colonial house. 






-r • 






^— 


■ XM 






KOBOOU 
1). it 










_ 




N 


' f 


\ t 


-1 1 





The floor space is ar- 
ranged to meet the 
needs of modern living 
conditions. 




The left elevation, showing the 
small-paned windows and porch 
which may be open or glassed in. 



fen I 

ml 



*! 








iff! |% 



The right elevation, with dining- 
room and kitchen exposures, and 
the service entrance. 




The back of the house, a pleasing 

background for shrubberies and 

the old-fashioned garden. 



72 



The New Movie Magazine, July, 1932 




"She Plans Such 
Perfect Little Dinners 



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Creamed Onions Buttered Beets 

Plain Lettuce or Endive Salad 

Ice Cream 

Fruit Cocktail 

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String Beans, Country Style 

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73 

The New Movie Magazine, July, 1932 



Between Two Worlds 



1 1 Hnut d from pofft 26) 



i • me that was too 
big fi»r me. 1 made no explanation to 
\.ii in .illy he viewed me 
- it h alarm thinking me crazy." 

\ \ \ \ ilh :in Engl I h Bl 

i "v which the cultivated in London in 

r t«> appear in English picti 
For all her celestial beauty one do 
;. ui" her as < Ihim 
\im.i ha encountered the itinging 
rebuff of smug rules againsl admitting 
one of her race to "excluaive" apart- 
ments. Small boysi bred of smaller 
. have taunted her with the cry 
"Chink!" She doesnl suffer meekly 
more, as ihe <li<l when the pins 
■ stmk in her. She can retort as 
wrathfully as any of us. 

Per onally 1 have no use for thai 
Kipling quotation, and I am not a 
it. it i, in-, jents thf superiority of the 
old-guard British. It certainly doe n'1 
represent the attitude of the younger 
ration of English who applauded 
\nna May Wong fur a performance on 
tin- London stage in "The Circle of 
Chalk" and received her in Mayfair 
drawing-rooms. As for Americans, lei 
them abide by Lincoln's "All men are 
ited equal." 

ANNA makes no admission of racial 
problem. Only by her defensive, 
more effective than the great wall of 
China, do you suspect there is a per- 
plexity. On one side is her Chinese 
home, on the other her Occidental 
career. 

Of that home she speaks quietly. 

Anna .May's mother became a bride 
'\- submitting her picture 
to a Chinese matchmaker in San 
Francisco. 

When you look at that picture of 
serene beauty you can understand why 
Wong Som Tsong accepted her unseen. 

Anna May's father is an educated 
man of humor and charm. He was lord 
of thi old, as a Chinaman is, and 

only once did his children oppose him. 

fie had a wife and five children in 
China. Anna speaks calmly of this 
other t'a : ..". Among: the Chinese it is 
proper to have more than one wife if a 
man can afford to. The two families 
exchanged greetings and gifts. When 
the wife in China died, Mr. Wong sug- 
gested that Anna's mother go to China 
to look ifter the children there. 

Mrs. W m,!r was willing but her chil- 
dren rose in insurrection, disputing the 
naternal authority for the first time. 
They sai 1 their mother had performed 
service enough in raising the nine chil- 
dren here. The father yielded to them, 
and a Chinese tradition was smashed 
by an American head-on. 

THE greatest conflict between Chin- 
ese and American duties that Anna 
has had to meet occurred when her 
mother I ed last year. 

Anna was appearing on the New 
York stage in "On the Spot." Her 
father wired her to come at once. It 
was unthinkable that a Chinese girl 
should be absent from the funeral of 
her mother. Vet confronting Anna 
was that unwritten law of the Western 
stage: The show must go on. Ameri- 
can duty opposed the Cbinese duty. 

Ant. i - instinct moved her to observe 
the latter, but her disregard of the 



former meant the do ing of the play 

and rreat lo to the producers. She 

remained at her post, sustained by 

Christian Science winch looks upon 

death beautifully as bat the passing 

through a door. 

The Chinese funeral was held with- 
out I. in Tsong, and patriarchal Chinese 

poke bitterly of a daughter who could 
o offend her ance toi . 
tana's father understood but was 

not reconciled to the burial of his wife 
without I. iu T .line's presence. So the 
body was placed in a vault, temporarily, 
to await Liu Tsong's return. On the 
New York stage Anna May Wong went 
on playing her part and making her 
bows while the heart of Liu Tsong was 
breaking. Months later in a little 
Christian chapel in Los Angeles Liu 
Tsong, the little Chinese girl, knelt 
obbing beside the gentle, understand- 
ing mother. 

TIIL other night I stood in the wings 
of a theater watching that graceful, 
tall and golden girl as she sang a song 
defining an American girl. Her father 
attended the performance and was very 
proud. She was the Frosted Yellow 
Willows he had envisaged. Only once 
has he seen her in pictures. That was 
on the persuasion of one of her broth- 
ers. The picture was "The Thief of 
Bagdad" in which Anna wore not too 
many clothes. After the film, the 
brother said, "Well, father, what do you 
think of Liu Tsong?" The old man 
smiled whimsically, clutched himself in 
a mock shiver, and murmured, "It's 
cold." That was his only comment. 

He felt much warmer after seeing 
Liu Tsong on the stage in a Patou 
gown. 

Later in her Park Wilshire apart- 
ment Anna and I had cocktails (she's 
an expert mixer) and ate ancient 
Chinese eggs which Anna said were 
two hundred years old. If you are in- 
terested in providing your descendants 
with these antique delicacies, here is 
the recipe as Anna gave it: Take fresh 
duck eggs, sink them in wood ashes, 
wrap them in rice husks and bury them 
some place where Mr. Hoover's anti- 
hoarders can't find them. Your heirs 
will thank you. They are delicious. 
(My obeisance to these Chinese ducks 
new enjoying paradise with their an- 
cestors.) 

AXXA and I talked of Chinese phil- 
osophy. 

"Isn't it difficult for you to be 
Chinese?" I asked. 

"No," she smiled. "I've been reading 
up." 

Anna herself is a citizen of the 
world, like Plato — or was it Socrates? 

After walking into the arms of the 
Hollywood devil with the red lantern in 
her hands she played in pictures for 
several years. Then she received an 
offer from British International which 
took her to London. She appeared in 
pictures and on the stage in London. 

Paris called and she went there to 
perfect her French. In Berlin she ap- 
peared in three versions of the film, 
"Flame of Love," speaking English, 
French and German. Vienna, not to be 
outdone by the other European capi- 
at, requisitioned her for a musical 



revue, "T chuln T i hi." which you may 

• ' an late as "Springtime." 

WHKN I was iii Europe two year 
ago the name Of Anna May Wong 

was a ociety feat me. Everywhere I 

went, and, of course, 1 move m the bi 
social circles, people were discussing 

this charming, cultured Chinese girl. 

And, of course, there were the attend- 
ant lull. of princes and even kings 
being madly in love with her. 

Anna obviously enjoyed being taken 
up by people of such rank that their 
names never appear in new papers. 

"Yet sometimes I would stop and 
ask myself: 'What am I doing'."" she 
says. "It all seemed silly and futile." 

Before she went to Europe and was 
acclaimed by nobility, Anna was not 
of Hollywood society. But, as she ob- 
serves with serene detachment: "Once 
you are a success, color means noth- 
ing." 

They arc not fooling Anna. She has 
the divine discontent. Pictures do not 
satisfy her intellect. From a secret 
source which I cannot quote I have the 
opinion that she will one day enter Un- 
diplomatic service. For America, of 
course. 

She has the poise and assurance of 
diplomacy, and an ever-seeking mind. 

HPIIE Christian religion has interested 
•*• her, Christian Science particularly. 
But she adds that she is turning more 
and more to Oriental philosophy. 

"We were followers of Confucius," 
she says. "But I think with you that 
Lao Tzu is the greatest." 

Lao Tzu is the philosopher of in- 
action. 

Anna believes that one gains most 
when doing little. "Work absorbs. Too 
much work dulls one. For the one who 
gives it is necessary to have solitude 
to re-store." 

Her own proverb is: "Life is too seri- 
ous to be taken seriously." 

"This game of pictures will not whip 
me," she says. "I shall change with 
my rhythm." 

The Western idea of success is 
wrong. Material accomplishment is 
not the happy ideal. Absorbed by work, 
those who succeed in a material sense 
are failures in character. 

A few days after she said this to 
me two gentlemen of huge fortunes 
shot themselves. 

THE Hollywood absorption in sex is 
infantile, Anna thinks. When told 
that she had been quoted as saying she 
would marry only a Chinese boy, she 
replied scornfully: "If I were asked 
such a stupid question I might be par- 
doned for making a stupid reply. The 
only basis for marriage is mental com- 
panionship and -that has no race or 
color." 

Of the present Chinese-Japanese war 
she says: "The day is past for con- 
quest by bullets. In killing us they kill 
their market. I agree with Harry Carr 
that Japan victorious will be swallowed 
up by victorious China. The Chinese 
are a peaceful race and by peace they 
will conquer." 

Happiness? "For me an island of 
solitude with books. Not material 
things — but wisdom." 



74 



The Neic Movie Magazine, July, 1932 






Bachelor Quarters 



(Continued from page 59) 



Sheraton pieces and the chairs are gay 
bits from the Directoire period, done in 
cream and gold with raspberry satin 
cushions. Satin draperies of the same 
raspberry satin are hung at the wide 
windows. An open cabinet, set into one 
wall, holds rare pieces of China from 
various periods. From the cream- 
colored ceiling is suspended an intricate 
cut crystal chandelier and the polished 
parquet floor is partially covered by an 
Aubusson rug in warm tints of brown 
and gold. 

A NARROW stairway, carpeted in 
eggplant velvet and guarded by 
slim ivory posts and rail, leads up into 
the second floor gallery from the front 
entrance hall. This gallery, with its 
eggplant velvet carpet and its white 
paneled walls hung with vivid Daniels 
prints of gay Scotch scenes, is lined 
with old Sheraton and Chippendale 
pieces of furniture in graceful design. 
The draperies are gay, glazed chintz, 
hung over frilled glass curtains. 

There are three bedrooms and baths 
on the second floor. The master bed- 
room, with its low white wainscoting 
and its bright Zuber wallpaper sprink- 
led with gay' flowers on a creamy yel- 
low ground, has a graceful, postered 
Sheraton bed with hand-painted top 
and draperies of satyr green and mus- 
tard gold taffeta. Comfortable chairs, 
covered with glazed chintz, are placed 
here and there on the taupe velvet of 
the carpet, and the windows are draped 
in green and gold taffeta, matching the 
draperies of the bed. The dressing 
table is Chinese Chippendale topped by 
an American Colonial mirror, and an 
exquisite William and Mary cabinet 
in seaweed walnut has a special place 
in one corner where its beauty of line 
stands out against the plain ivory 
panels of the walls. 

The two guest bedrooms are cheery, 
comfortable places, decorated in care- 
fully blended colors. Both have low 
wainscotings and ivory woodwork. 

BUT the best-loved room of the house 
is the sitting room on the second 
floor. Here Bill has blended a half 
dozen periods into a complete and 
harmonious whole which spells comfort 
and beauty. The walls are paneled 
from floor to ceiling in knotty pine, and 
the floor is completely covered by a 
deep carpet of eggplant velvet. A fire- 
place centers one end of the long room 
and is flanked by twin club chairs cov- 
ered with dog-patterned glazed chintz. 
On each side of the fireplace are cabi- 
nets set into the wall, holding choice 
bits of rare porcelain and china. The 
draperies are glazed chintz with a 
ground of eggplant shade flowered in 
gay colors. 

A Chippendale couch, covered with 
eggplant corduroy and trimmed in nar- 
row bands of white leather, faces 
across the room a low divan, up- 
holstered in robin's egg blue glazed 
chintz. A priceless Heppelwhite sec- 
retary fills one corner with its satiny 
bulk. 

Bill's house, with its priceless furni- 
ture, its lovely colors, its graceful lines, 
is not only a house. It is a home. The 
kind of a home William Haines, col- 
lector and connoisseur, has always 
wanted. 




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The- New Movie Magazine, July, 1932 



75 



Gable of the Seven Faces 



What Clai k < labl< //// is 

obvious. And it i not wltnoul appeal. 
Two hundred poundi of lumberjack 

Knd an 8X1 1 B inch or 

hard, well-knit youthful' 
profile thai l I hing thai Barry 

browa like Jack Dempsey'a thia is the 
k Gable thai meel - « lu- phy ii al 

u. h :i man mighl be a ( harlea 

fni. I or a Victor McLaglen or a 

Kill Boyd. Gable Isn't. There is a 

about him thai makes you 

ilouht in i roughne . ■ of( ne ' rial 
makes you doubt his hardness, a sym- 
pathy that makea you doubt his 
cruelty. There is. in hurt, doubt. 
The man isn't handsome. Bis ears 
..in and his cowii.k sticks up. He 
to be photographed three-quarters 
or profile to give the illusion of beauty. 
ih gray eyes are sol far back under 
shaggy eyebrows. His mouth is far 

tOO hie;. Bui when little sunrise niys 
begin to form around those deep-set 

eyes, the Gable audience begins to won- 
der whether the result is to be a smile 
or a Bneer. When thai big expressive 

mouth begins to move, the Gable audi- 
ence wonders whether it is to be a ca- 
ress or a curse. And that, as any 

woman will tell you. is exciting. It is 
the excitement of doubt. 

Bl I complaints or no complaints, the 
girls love him. They know he is 
rough; they think he may he had; they 
BUSpecl he doesn't give a darn whether 
they like him or not. Hut, in the words 
of the immortal Eva Tanguay, they 
•don't care." They keep right on 
sincing: 

Toa <•<//> throw rocks at my win- 
dow, 

Vim mi' jint tacks in my shoes; 

You can put ground glass in my 
apple sum i . 

But you can't stop me from loving 
you," 

It is extraordinary that we do not 
know more about the man who has 
aroused all this feminine furore. No 
actor who has achieved anything like 
Clark Gable's prominence has played 
so many roles in so short a time — 
twelve, I believe, in twelve months — 
at least seven of them notably distinct 
creations. It would seem that he must 
surely have given himself away in at 
least one of these vivid characteriza- 
tions which have milestoned his rapid 
mad to fame. 

Well, perhaps he has. Let's look at 
them. 

First, there was that matter of the 
laundryman. You may remember "The 
Easiest Way" as Frances Starr did it 
at the old Belasco. It was considered 
hot in those days, hut not so tepid now. 
Nevertheless, there are some big scenes 
in it. Some big parts, too — but Gable's 
was not one of them. 

In the screen version, Constance 
Bennett had the principal role of 
I. aura Murdock — and how good she 
was in it! 

It was her picture — especially when 
she donned those cloth-of-gold pajamas! 
Then there were two featured parts for 
men. Adolphe Menjou's as the elderly 
daddy and Robert Montgomery's as the 
heroic young gentleman of the press. 

Not much of a chance for a laundry- 
man in that milieu ! And the sce- 



i ( ontit m ii j i inn jiniji :!,")) 
narist didn't do much to help him out. 

< lark's [ small he didn't 

even rii into the printed cast. All he 

had U) do Was to deliver "undies" to 

the golden Connie and gel himself mar- 
ried to Anita Page. Neither job, if 
yOU ask me, could be called arduous; 
and for a I rained actor like Gable, they 

tituted a Hollywood holiday. Hi 

ply pulled on his overalls, and took 
I hem in hi. st ride. 

That was the trouble. That is al- 
ways the trouble with these (lark 

Cable characterizations. He never 

eems to be trying. He never seems to 

be anything or anybody but himself. 

But he is different every time. So 

where n r, you? 

BUT to get hack to "The Easiest 
Way." The picture had scarcely 
passed the preview Btage when the 

mail began to roll in. First an Incom- 
ing tide of fan-made question marks: 
"Who is the laundryman?" 

To the studio wise-boys, up to now, 
this Gable had been just a — well, shall 
we say? — laundryman. Hut suddenly, 
after the manner of Hollywood, he had 
become a personality for whose "dis- 
covery" everybody wished to take 
credit. But Gable didn't care. While 
the flock of yes-men on the lot were 
still telling each other how they had al- 
ways known that that boy Gable would 
make good — although most of them had 
never heard of him before, and those 
who had were on record as believing 
that his screen tests were "lousy" — he 
did make good with the well-known and 
justly famous vengeance. 

Also, with Joan Crawford; with 
whom, if you ask me, he makes about 
as good as he is ever likely to make 
with anybody. 

The picture was "Dance, Fools, 
Dance." Clark was one of the gangsters, 
an unsympathetic role if ever there 
was one, especially as it was part of his 
job to contemplate taking the beautiful 
heroine for a "ride." It gave him a 
chance, however, to exercise that men- 
acing charm of his, usually with a 
touch of paprika in it, which had found 
small chance for expression in the 
honest laundryman. 

THEN followed in rapid succession 
the seven pictures which made his 



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fame. The fli I ■•■ a a plat inum adven- 
ture m which he appeared aa a wise- 

i eporter With -lean Harlow in "Tli. 
Secret Six." This was another gang 
picture, and a food one, too. But it 

wa no picnic for an aspiring young 

man in a minor part. No production is 
B picnic that has in it tho e two "pic 
lure thieves," Wallace Beery and Lewis 
Stone. 

But Gable wasn't impressed. He 

didn't seem to realize his danger. He 

a the old may fedora another jerk, 
parked the sinister sneer, pulled the 
boyish smile, and became I i -aij'htway 
<|inte a different Gable from anything 
We had seen before; and, incidentally, 
quite the outstanding figure in every 

cene in which he appeared. 

"The Secret Six" was also useful in 
demonstrating still further this younu 
man's unexpected versatility. But in 
that respect it was merely a prelimi- 
nary heat, run in the way of braining 
for the greatest Grand Prix in the long 
history of screen competition: Clark 
Gables driving finish with Norma 
Shearer and Lionel Barrymore and 
Leslie Howard in "A Vvv^ Soul." 

Surely you remember "A Free Soul," 
and what a splendid thirty Norma 
Shearer made of the motherless Jan 
Ashe, who tried to break life and was 
nearly broken by it. You remember 
Lionel Barrymore, Jan's hard-drinking 
father, doing the best work of his long 
career as the lawyer who would protect 
gamblers but would not have one in his 
own family. You remember Leslie 
Howard, that good actor, who made the 
impeccable lover so very warm and 
human. You remember how fine they 
were, all of these splendid artists. And 
yet, as in the other pictures we have 
been discussing, you remember most 
of all the young man who had the un- 
sympathetic part of the gambler, but 
created something akin to sympathy 
in even the most virtuous breast. 

THAT amazing ability to make an 
unsympathetic part stand out, to 
make it downright likable, in the face 
of the stiffest acting competition Holly- 
wood or Broadway could offer — that 
was the quality about our hero which 
"A Free Soul" emphasized. I don't say 
that Clark's performance was any 
better than Lionel's or Leslie's. The 
picture was Barrymore's, anyway you 
looked at it, and justly so; and the girl 
was deservedly Howard's. But the race 
this broad-shouldered young man put 
up against these two superlative ac- 
tors, and in a losing part, undoubtedly 
did more than any other one thing in 
his brief picture career to win him the 
respect and affection of the huge pub- 
lic he now enjoys. 

Before we had recovered from the 
shock of his "Ace" Wilfong, Gable was 
back as Carl, the Salvation Army lad, 
with Joan Crawford in "Laughing 
Sinners." I almost refused to go to 
see this picture. But of course I 
weakened. 

As a picture, "Laughing Sinners" 
was not to be compared with "A Free 
Soul," but it was different; and so far 
as Clark Gable was concerned, addi- 
tionally convincing. He had already 
proved that he could take an incorrigi- 
ble sinner like "Ace" Wilfong, and 
save him. Now he proved that he 
(Please turn to page 78) 



76 



The New Movie Magazine, July, 19.32 



Lucky at Life, Un- 
lucky at Love 

(Continued from page 10) 

trying to cheer up Gilbert lately and 
help him forget what he learned about 
women from women. 

LUPE VELEZ, even though luxury 
-/ as she now knows it is a new thrill, 
would gladly exchange all the softness 
of life for love. She comes from just 
an average family in Mexico, perhaps 
a little less affluent than most Mexican 
families with some money. For it is 
Lupe's lament that her education was 
sadly neglected. She says that is why 
she is looking for her ideal man, an "in- 
tellectual" type. 

She has not found that type for a 
husband yet. It is one of the cards 
which were stacked against her from 
the beginning. Not long ago Lupe was 
madly in love with Gary Cooper. Gary, 
being a college man, seemed just about 
perfect. 

For several years Hollywood was 
prepared to hear the wedding bells ring 
out for this charming couple. Every- 
where one heard "Lupe and Gary" 
mentioned as if they were girl-and-boy 
friends of inseparable attachment. 
Then suddenly one day Lupe announced 
it was all off. Gary was leaving Holly- 
wood for New York. Lupe came to 
New York a little later, to find that 
Gary was squiring one of the blue 
bloods to all smart affairs. A countess, 
if you please. 

Then came the next card in the pack 
which seems stacked for life's success 
but not for love. Her "Cuban Love 
Song" picture was a big hit. 

JOHN GILBERT and Ina Claire 
•J . finally severed the marital ties, and 
Jack was free once again. Gilbert came 
to New York. Lupe came to New York. 
Just prior to Lupe's arrival, Gary 
Cooper sailed from New York for Eu- 
rope. John Gilbert sailed for Europe 
soon after. And Lupe sailed to Europe 
also — no one quite being able to guess 
whether she went to be near Gary, to 
make him jealous by being seen around 
with her devoted Jack Gilbert or just 
what. Anyway, Lupe came back. She 
was still Miss Velez. Gary went on a 
long jaunt into the wild places of 
Africa and spots similar. When he re- 
turned recently he went immediately to 
Hollywood. 

Then came Novarro! Kindred souls 
or the call of the blood or whatever 
scenario writers might like to make it 
out, Lupe and Ramon had a liking for 
each other. 

When Ramon was in New York 
some one asked him about this reputed 
infatuation. He shrugged and said: "I 
have always been so busy trying to be 
successful that I have had no time for 
women. Women are too distracting." 

SO Lupe came to New York again to 
forget. A round of gay parties amid 
gay people helped a little. Like danc- 
ing with tears in her eyes, Lupe was 
taking these love taps "on the chin" 
like a good little soldier when — presto! 
Lupe Velez was chosen to be star of 
Flo Ziegfeld's musical show, "Hot- 
Cha." 

Lupe is packing 'em into the Ziegfeld 
Theater every night. New York is 
simply crazy about her. 

Hot-cha, eet ees life — and you simply 
can't have everything! 



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1 



The New Movie Magazine, July, 1932 



77 



Gable of the Seven Faces 



Carl, and 
him, tot H ■ i , m short, !>'■ 
coming one of our beat known and 
• dependable 1 i r - ii wa 

lime that he was rewarded with a 
really vmpathetic part, 

Bui be wai OOl to nt it right away. 
time, it wa a ia tout 

named Rid Riddell in a hoi ituff Drury 
Laner called "Sporting Blood." 
However there's always a "how- 

aiiout this fellow Gable I tli«' 
ice-track tout wa • 10 different 

from the other in the pu- 

ture. from the other gang tei in •ill 
the other gang pictures, ami especially 

from the other gangsters that Clark 
himself had played, that he simply 

turned Madge Evans' (Mine-hack pic 
tare into a come-along picture for him- 

This venture brought into the full 
glare of the Kleigs another of Gable's 

lOUrcea of power. I have never seen 
him play a hero's part that did not 
have in it a hit of the sinister, a sug- 
tion of a threat; I have never seen 
him play a villain that did not grip me 
either by the heartstrings or by the 

risibilities. Whatever he is, he is "A 
d egg." 

AITKR "Sporting Blood" came 
Garbo's "Susan Lennox." At 
least, it was supposed to be Garbo's 
"Susan Lennox"; but I saw it three 
times, and Garbo-mad though I am, the 
impression that remains with me is 
that of an unshaven, tousle-locked, ter- 
ribly intoxicated, but arresting, in- 
itiating, challenging — and oh, so 
youthful ! — primitive male. 

It took David Graham Phillips two 
volumes to tell the story of "Susan 
Lennox." It took Garbo and Gable 
only a couple of looks. It is the old 
yarn of the little girl who went wrong 
with the wrong man, or men; too 
wrong and too many, at least, for her 
fastidious lover. 



i ( '••if i linn ,i from /""/■ 

IT was Inevitable, after "Su an Len- 
nox," thai l lark Gable hOUld be 
immediately co: tarred. And he v,:i , 
twice: once with Wallace Leery and 
OnCC with .loan Crawford. 

The Leery effort Was that badly 

named picture, "Hell Divers," iii which 

our hero played Steve, the younger of 

two adventure-seeking naval officers. 

It was a typical Wallace Leery picture, 
conceived long before there was any 

thoughl of co-starring Cable in the 

nd part. Lilt (lark succeeded in 

buffing a definitely live human being 

into his officer's uniform. And he 

photographed prodigiously. 

"Ibll Divers" was well enough in its 

way; but everybody was really waiting 

for "Possessed." And everybody wasn't 
disappointed. In I he first place, -loan 
was back in her right hair. And in 
the second place— perhaps, it should 

have been the first -Clark had a role 

of really star magnitude. "Possessed" 

was distinctly a dress-suit picture. So 
Clark Gable promptly went dress-suit. 

It was amazing how much to the 
manner he seemed born, this farmer's 
hoy from old Cadiz, who had tramped 
and trouped and well-nigh starved his 
way to the Hollywood heights. He was 
in a velvet atmosphere, so he was all 
velvet, too. Hut he lost nothing in the 
process. He didn't have to be labeled 
a gangster to make you realize that 
there was still plenty of chest expan- 
sion under the stiff bosom of his dress 
shirt! 

This Clark Gable of "Possessed" 
was a blending, a development, per- 
haps a fulfilment of the other six 
Clark Gables who had gone before. 
And yet, he was different from all the 
others. 

Those seven distinct characteriza- 
tions constitute Clark's real claim to 
fame. They constitute also the founda- 
tion on which he has built the whole 
structure of his present success. That 
it is such a solid structure, that it has 
been built on achievement rather than 



eccentricity or pulchritude, sug| 
that Hollywood has uncovered not |u ' 

One more popular idol, hut that part !1 
Hun;-, a popular actor who can act. 

His history bean oul that ugges- 
tion. We know that he rave up a 
t welve ilollar-a day job in his fathei 
bit: ine for a ten dollar a-weck part in 
a tank-town theatrical troupe, which 
went "bust"; thai he stranded in .Mon- 
tana and freight-trained to Oregon; 

that he served his time as a surve;. 
rodman and a practising lumberjack; 
that he strung telephone wire; by day 
and acted minor parte in tin local 

Little Theatre movement by night; 
that, he saved his telephone money un- 
til he had enough to get him to Lo 

Angeles; that he tired of wearing hel- 
mets and shaking sabres in Hollywood 
mob-scenes; that he stock-companied 
for a season in Texas; and that he got 
a job from Arthur Hopkins to play 
".Machinal" in New York. 

Of course, anyone who knows Clark 
Gable well, knows a good many more 
intimate things about him: for ex- 
ample, that he likes his steaks rare, 
his cigarettes brown, his shoes black, 
his words short, his smiles wide, his 
coats double-breasted; that he smokes 
a pipe, drives a flivver, swims, golfs 
and sometimes blushes; that he fears 
neither God nor Garbo. But none of 
these intriguing facts, though doubt- 
less dear to millions of his admirers, 
do so much to illumine the reason for 
his extraordinary success as does the 
fact that he has crowded into ten or 
more years of ceaseless trouping and 
stock-company playing more actual 
histrionic experience than has been the 
lot of any other man of his age in the 
motion-picture colony. In short, it 
comes back, as it always does with 
Gable, to performance. 

So I say, more power to you, young 
man from Cadiz, more power — al- 
though, as every woman who has ever 
seen you will testify, you don't need it! 



How I Met Charles Farrell 



DEAR me, dear me. what they didn't 
do to one! The first thing they 
did was to try to change the shape of 
one's eyebrows. (Xo success!) The 
color of one's hair. (Xo success!) The 
style of one's hairdressing and one's 
clothes. (Lots of success!) 

I sat a whole morning while a sweet 
girl dragged the natural wave out of 
my hair with lots of very wet water 
and "set" another one in where, photo- 
graphically, it should be. 

Having "set" that wave she pro- 
ceeded to torture me. She put a noisy 
machine near me that sent out great 
waves of heat, in order to dry my hair. 
Then she proceeded to see just how 
ugly and unattractive she could make 
me look. She put a kind of white 
cloth around my head from under 
which my ears protruded. This was 
suspended from a contraption. . . . 
My face was scarlet and shiny from 
all the heat and the wet. 

At this psychological moment (8.30 



(Continued from page 14) 

a.m.) into the make-up department 
there breezes a youth who looks about 
twenty. He wears a wrinkled, white 
sweat-shirt and an old pair of grey 
flannels; around his neck is an ancient 
and venerable scarf; his longish brown 
hair is falling into his eyes, and he is 
unshaven. He flings himself into the 
chair next to mine and, hurling his 
scarf across the room (it falls deftly 
on a window-sill), tosses off a couple 
of greetings to the make-up man and 
the hair-dresser. I stare. Oh, how I 
stare! Then, for a change, I stare. 
My Hero— Mr. Charles Farrell! 
Groomed stars! Ha! ha! forsooth. 

THEX happened the unforgivable. 
(Irene, I shall never forgive you 
for that.) That darling, oh-so-tactful 
hairdresser smiled sweetly and intro- 
duced us. 

"Mr. Farrell, do you know Miss 
Elissa Landi?" It was my companion's 
turn to stare. He stared and stared. 



Deeply mortified, and ready to burst 
into tears over my vanished hope of 
making an impression on My Hero, I 
endeavored (awkwardly) to bow. My 
attempt at graciousness was rudely 
checked by the hair-drier. 

"Say, are you and I going to work 
together on my next picture?" 

NO one will ever know what I went 
through at that moment. Humbly, 
I tried to nod. . 

Women of America, I put it to you! 
How would you have felt? Would you 
not have wept to think that you had 
met Charles Farrell for the first time 
with your hair under a drier? 

Ah! . . . X T ow comes the happy end- 
ing. Charlie is such a noble trouper 
that he never even noticed the drier, 
or my red face. Any more than I 
bothered about the fact that he hadn't 
shaved or combed his hair. And owing 
to that fact, he became my friend for 
life. 



T^ 



The Neiv Movie Magazine. July, 1032 



Musicof the Sound 
Screen 

(Continued from page 62) 

Eddie Duchin and his orchestra with 
the following hits from the Paramount 
picture, "One Hour with You," "What 
Would You Do?" and "Oh, That Mitzi" 
in addition to the title number. They 
are assisted by Dick Robertson and the 
Rondoliers Quartet. The other side 
brings Eddie Duchin and his orchestra 
with a waltz group, including "Para- 
dise," "Save the Last Dance for Me" 
and "Three O'clock in the Morning," 
with the vocal work done by Lee Morse 
and the Rondoliers Quartet. (This is 
a Columbia record.) 

W A RING'S PENNSYLVANIANS 
are nc -t on the list, playing one 
of the hits from the musical comedy, 
"Face the Music," "I Say It's Spinach," 
and it isn't a bit misleading, either. 
It's a very peculiar tune, to say the 
least, and if you don't get a big laugh 
from the lyrics I miss my guess. The 
vocal refrain is sung by a trio in the 
orchestra. 

The other side is also by Waring's 
Orchestra, "On a Roof in Manhattan," 
also from "Face the Music." (This is a 
Victor record.) 

VIC IRWIN and his Orchestra play 
the next tune for us, the popular 
"Somebody Loves You," and the boys 
do a fine bit of recording. The vocal 
chorus is sung by Paul Small. The 
other side is also by Vic Irwin and his 
Boys, who play Bert Lown's number, 
"Tired", and a very nice job they do, 
too. (This is a Perfect record.) 

MICKEY ALPERT and his Orches- 
tra are next, and play for us 
"Say" from the musical comedy, "Hot- 
Cha". This is a fair tune, but all of 
the credit should go to the orchestra 
for building it up. The other side is 
also from "Hot-Cha", "You Can Make 
My Life a Bed of Roses?" which is al- 
together too long. Again Mickey does 
his best, but in vain. (This is a Colum- 
bia record.) 

1LJOWEVER, here's a peach of a tune 
A J- played for us by a peach of an 
orchestra. "Rocky Road" is the title, 
and McKinney's Cotton Pickers do the 
recording honors. This is a real dance 
record. Plenty of rhythm and melody. 
Don Redman sings the vocal chorus. 
The other side is also by the Cotton 
Pickers, "Will You, Won't You Be My 
Babe?" another good tune. (This is a 
Victor record.) 

WINNIE the Wailer" is the next, 
and it's a good record. Ruby 
Newman and the Ritz-Carlton Or- 
chestra play it for us, but to be truth- 
ful the honors go to the Funnyboners, 
that male trio we hear on the radio so 
much. Hear this record, by all means. 
The other side is by the same bunch, 
singing and playing that little novelty 
number, "Laffin' at the Funnies", some- 
thing on the order of "Baby's Birthday 
Party." If you like that type, you'll like 
this record. (This is a Victor record.) 

"CX)R the lovers of tango music here 
A is a very fine recording by Zito's 
Tango Orchestra, "Carino Gaucho." 
On the other side we again have Zito's 
Tango Orchestra playing "Caminito", 
another excellent tango. (This is a 
Brunswick record.) 




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The New Movie Magazine, July, 1932 



79 



Edgar Wallace's Hollywood Diary 



, U( d 1 i ■"" pagt 21 ) 




Evelyn Brent, a friend of Mrs. Wallace, about 
whom you will read fascinating facts in Mr. 
Wallace's diary. 



Schnitzer, and really my first news of 
any account you will not have until to- 
morrow. 

Saturday, 5th December, 1931. 

THIS morning I pot your overnight 
letter to tell me everything was 
grand. That's a great relief, I must 
say, to have no worries about home. 

I hired B ear and drove to the studio; 
it is about five miles from here, but we 
did it in about ten minutes; and I met 
my executive. Schnitzer, who is the 
financial head, is a very Dice, youngish, 
stoutish man. They were sitting in 
conference when I arrived, so I saw 
them all together. Selznick is the big 
noise; he is young, massive, well edu- 
cated and with tremendous vitality. 
(David Selznick, head of production.) 
The man he has replaced as production 
manager, Bill Le Baron, is quite a nice 
man, and the other two men, whom I 
can't remember for the moment, were 
all equally pleasant. I was with them 
for about a quarter of an hour, and 
then I went to see over the "lot." 

I was then picked up by a man 
named Perry Liehar, an awfully nice 
fellow who is at the head of the pub- 
licity department, and he took me into 
the block where the executive writers 
are kept chained up, and I was given 
a room, the key thereof, and the tele- 
phone book, which helps me to pet into 
touch with everybody in the block. The 
secretarial department sent me a 
woman over named Pickering, to whom 
I dictated a couple of letters. She also 
made a few notes of my requirements. 

I was interviewed by Jimmy Mitchell 
of the Examiner and another re- 
porter named Hunt. We had a grand 
time. ... I find that I have only to 
call up the transportation department 
to get a car when I want one to pick me 
up. It's a "swell idea." 



Afterwards I saw Selznick in his 
office with Merien Cooper, another 
member of the executive. He was the 
man that did "Chang" and "Four 
Feathers." They want me to do a hor- 
ror picture for them. I think there is 
a big market for it, and they have 
"lined me up" all their stock artists 
and I am to use them as I want. Eric 
von Stroheim, Anna May Wong and a 
few more of that kind. 

We had an interesting talk, and 
Selznick drove me back to the hotel, 
where he was seeing his brother. 

This afternoon I am going to call 
on Guy Bolton (the playwright) for 
tea. The vexed problem as to whether 
I shall stay at the Beverly Wilshire 
or whether I shall take a house has yet 
to be settled. I am going to see Guy's 
house, and if it is oke I will hecome 
a householder, and the wild parties I 
shall give will be nobody's business! 
I am determined thoroughly to de- 
moralize Robert (Mr. Wallace's valet) 
before I get him back. He has been 
out shopping this morning and getting 
his background, as they say in this 
town. 

The sight when I woke up this morn- 
ing and looked out was beautiful. Over 
the foreground of shops, agents' offices 
and the like was the slope of the Bever- 
ly Hills lying about three miles away 
to the top of a ridge about the height 
of Glion. This is covered entirely with 
the white houses of the patrician class. 
When I say patrician class I mean the 
stars of Hollywood. The air is mar- 
velously clear. From my room I step 
out on to a big patio, about as big as 
the little lawn by the side of Chalk- 
lands (Mr. Wallace's country home in 
England), brick-covered and furnished 
with chairs, couches and whatnots. In 
the center is a big fountain. 

I haven't gone very thoroughly into 



the question of how long I am ikying. 

Naturally, my first impression of 

Bollywood is a little lot confused. I 

am not quite satisfied that I can work 
in tin: room, and I have no place where 
Bob I M r. Walla' e' , ,i clary) can 

work except here. lint all this will he 

chared up in a day or so. The Impres- 
sion 1 have i that they will go a long 
way out of their way to make things 

for me, and that they are very 

• I I am here. 

THIS is just the briefest survey of 
the situation up to date. I haven't 

been in Hollywood twenty-four hours, 

and today being Saturday rather holds 
me up. Maybe tomorrow I shall be 
able to line up a story (1 hope you 
don't mind this bloody language) and 
then you'll know roughly what it is; 
in fact, I'll make a point of sending 
you a copy of everything 1 do. 

They go a hell of a long way to help 
you, and if you make good, as I believe 
I shall, you can write your own ticket. 
(You will have to interpret all these 
idioms as best you can. I don't quite 
know what they all mean myself.) 
Selznick was telling me today that they 
had to stop work on a film because it 
took seventeen days to rewrite a por- 
tion of the story, and every day it cost 
the studio $3,000. I believe if I get 
past with my quick work I shall make 
a lot of money, always providing they 
don't get scared by the very rapidity 
of the work and spend six months talk- 
ing it over before they shoot. 

I was photographed this morning 
twice at the desk, once with my feet up, 
telephoning, and once the conventional 
intense picture, writing. The publicity 
man said: "I've never had anybody 
like you, Mr. Wallace, to deal with. 
You take three-quarters of my work 
off my shoulders." I explained to him 
carefully that I was not a seeker of 
publicity, but that when it came I 
thought it ought to be done properly. 
He told me that I had no idea of the 
trouble stars give when they arrive by 
train and are snapped on the platform. 
Which is remarkable, remembering 
that these film stars owe a terrific lot 
to this kind of publicity. 

I went to Guy Bolton's to tea. He 
has a most charming house at a fairly 
low rent, furnished. All the ceilings 
are sort of vaulted. The heating is ar- 
ranged by means of little buttons in 
the wall, which put on tiny lights to 
show you what sort of heating you are 
getting. 

I met Charles Farrell and his wife, 
Virginia Vallee. They were very 
charming, and, to my amazement, fans 
of mine. So was another woman, who 
is somebody else in the films. We had 
a grand talk and I got home for dinner 
in no particular mood for work. 

Sunday, 6th December, 1931. 

WE have got another gorgeous day. 
I spent the morning thinking out 
a story for R.K.O. on the lines Selznick 
suggested. I am sending you a copy 
by this mail. I am quite prepared, of 
course, to find that it is not quite the 
thing they want. I want to get through 
this engagement without any shocks 
to my vanity, and there is really no 
reason why I should have such shocks, 
for usually these people have a pretty 



80 



The Neiv Movie Marjaziue, Jvly, 1932 



Edgar Wallace's 
Hollywood Diary 

definite idea of their market. What 
he wanted me to do was a horror film; 
that is to say, something that makes 
people grasp their immediate neighbor 
or the sweaty hand of their lady 
friend; and I think I can get a horror 
atmosphere in broad daylight. That, 
to my mind, is the best kind of thrill. 

I started work in the afternoon, with 
intervals for tea and dinner, and the 
story was finished and typed by half- 
past ten, which was a great achieve- 
ment both for the senior and junior 
partners. There must have been ten 
thousand words. 

Anne McEwen came at half -past five. 
She is terribly excited. I think she 
will be very useful. She'll fix things 
like radio talks, and she'll make con- 
tact with all the columnists and the 
film correspondents, and that will be 
tremendously valuable. 

We had a long chat. She came in 
after everybody had gone to bed, and 
we talked till about twelve. 

It is wonderful to stand on the patio 
and watch the cars flying along the 
Wilshire Boulevard. The amazing 
thing about this place is that twenty 
minutes from here is the Pacific and 
the beaches, and that about an hour 
and a half away you are up to your 
thighs in snow, so that you can go ski- 
ing or bathing as the fancy takes you. 
By the evening it was quite cloudy but 
really warm. 

Monday night. 

I WENT down to the studio at ten 
and saw Merien Cooper, who read 
the story and liked it very much, but 
thought there was not sufficient horror 
in it. I met Herbert Brenon, who di- 
rected "Beau Geste" and who has been 
allocated to my story, and I met also 
one or two other experts of the execu- 
tive. 

I think the story I gave them was a 
very good one, but I am not so sure 
that they will accept it. 

I had another idea at lunch, which 
I gave them; a mystery play called "A 
Hundred Minutes," the idea being that 
the whole of the action should corre- 
spond in point of time to the period of 
its showing; that is to say, it opens at 
twelve and finishes at twenty minutes 
to two, and within that period all the 
action is compressed. They jumped at 
the idea. I haven't written the story 
yet. 

It is a hell of a journey from here 
to the studios, about five miles, and 
costs you about a pound a day in taxis 
— at least. 

Tuesday tnorning, 8th December, 1931 

I AM ashamed to confess it for Holly- 
wood's sake, but it is raining. It 
is an outrageous thing to have hap- 
pened, but there it is : it is raining, not 
like hell, but quite like London, and 
the Beverly Hills are hidden in clouds. 
It makes no difference to the habits of 
the inhabitants, because they wear the 
same motor-cars summer or winter. 

I have had Cooper, one of the execu- 
tives, come down to talk over stories, 
and I am giving my story a new end, 
which I think will make it acceptable. 
I am also doing a radio mystery and 
another mystery story, and a story of 
prehistoric life! So it looks like being 
a happy Christmas for me. 

(Please turn to page 82) 




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The New Movie Magazine, July, 1932 



81 



Find out 

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Edgar Wallace's Hollywood 

Diary 



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The only medicinal ingredient of Ex-Lax is 
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Before approving any laxative, the doctor 
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Doctors approve the Ex-Lax icay 

Ex-Lax checks on every point to the doctor's 
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l ;uii going to make a habit of 
invr oif this diary every second day, 
and I am also Bonding you the story 
without the change of end. 

.ill probably move into a little 
• . bat i have do news yet concern- 
ing one. 

ir. dm. tday morning, 9th Deo., l'.'.'tl. 

THE rain finished last flight, anil 
this morning we have blue skies and 

perfect sunshine. Bob and I went to 
sec "The champ" last night, with Wal- 
lace Leery and Jackie Cooper. It 

really was a perfect picture anil per- 
fectly acted, and I hope you will m 
in town. I haven't seen a picture that 

impressed me so. Everybody in the 
audience was weeping at the finish, 
including me! 

I am going down to the studio this 
morning and taking Hob (.Mr. Wal- 
lace's secretary) with me. I think I 

told you that I have got four pictures 

on hand, and it is very discouraging 

after seeing last night's show. But 
that, I think, is always the case when 
one sees an emotional picture. 

Cooper and Brenon will be my di- 
rectors. Cooper did "Chang" and 
"Four Feathers," and for him I am 
doing the prehistoric animals story. 
Brenon, of course, did "Beau Geste" 
and two of Barrie's and "Sorrell and 
Son." I am hoping 1 that at least one 
of these pictures will be done before I 
come home, which will be either in 
February or March. 

Virginia Bedford has just rung me 
up. I think I have got my house; I am 
going 1 to see it this afternoon. Virginia 
'phoned me and said it is a beautiful 
house and she is getting it for $350 a 
month, completely furnished. Roughly 
that is £25 a week at the present rate 
of exchange. 

I am wondering, if I stay on in Feb- 
ruary, whether it would be possible for 
you to come out and return home with 
me. I thought you might come out in 
January straight away from Caux, 
catching the boat at Cherbourg. If 
you took one of the German boats, the 
Bremen or Euro pa, you'd be in New 
York in five days, and, leaving the 
next day, by the Century, you'd be in 
Hollywood three days after, which is 
roughly nine days from leaving En- 
gland or France. I would have a draw- 
ing-room reserved for you, which is a 
compartment entirely by yourself, with 
your own lavatorial compartment, and 
you could have your meals there from 
Xew York to Los Angeles. 

Of course, this is only a "pipe," and 
is probably impossible, but I should like 
you to see the place before we decided 
what we are going to do next winter. 
Long before you receive this I shall 
have notified you by wire just how 
everything is going. The point against 
the scheme is that you would want to 
see my play produced and on its legs 
before you came out. Everything 
really depends on what date you will 
put on the play which I am sending to 
Carl Brandt (Mr. Wallace's literary 
agent) tomorrow in its finished form. 

Don't for one moment think that I 
have set my heart on your doing some- 
thing wild and eccentric, but I know 
traveling doesn't bother you, and that 



tin- leal consideration will be Penny 

(his daughter) anil how she is likely to 

be in Caux. The grandest thing would 

he if you could bring her. but I know 

that is impossible. It would mean rough- 
ly 1 K day:' travel and about three 
weeks here- about two months. You 
might not think it worth while, hut the 

real consideration will he its practica- 
bility, I know. 

Thursday morning, 10th Dec, L931. 

LAST night we went down to the 
> studio to see "Dracula" run 
through, and I also saw a bit. of "Lull- 
dog Drummond," because Selznick 

wanted me to see a man in it. "Dra- 
i ula" is crude horror stuff, but I must 
say it raised my hair a little bit. 

My new address is 716 North Maple 
Drive, Beverly Hills. For God's sake 
don't say Hollywood when you mean 
Beverly Hills. It's not done, and such 
a pained expression comes over the 
Beverly Hillers when you refer to it 
as Hollywood. 

It is really in a lovely road, and a 
lovely house with a high-roofed sitting- 
room, which will be my writing-room. 
Unlike other houses, it is two-storied. 
I move in on Sunday the 13th (as you 
know, my lucky day). I shall be glad 
to get in, because I can't do much 
work at the hotel. 

I have even got a bootlegger to 
supply me with a case of whisky and 
a case of gin for my guests. Robert 
will be so happy that he can make 
cocktails. 

You can buy real orange juice here, 
already squeezed, for 20 cents a quart, 
and oranges about five a penny. Liv- 
ing here is extraordinarily cheap, ex- 
cept in the matter of clothes. I have 
hired a motor-car — 2,000 miles for 
$500 a month. I am going to see how 
it works out. We have a garage estab- 
lishment, and the hire of course in- 
cludes everything — petrol, chauffeur, 
etc., and for that I am getting a Cad- 
illac car. 

Thursday evening. 

AT the moment we are looking for 
actors, and this afternoon I went 
down to the studio to lunch. My lunch 
consisted of a large glass of orange 
juice and a hot beef sandwich, which is 
two slices of roast beef between bread 
and butter covered with gravy. After- 
wards I went into the private projec- 
tion room and saw "Murder by the 
Clock." There were moments in it 
which were quite creepy, and the actor 
was the very man I wanted for my 
horror story, which I have changed. 
(You have the manuscript and I will 
be able to send -you on the changes.) 

I bumped into Richard Dix the other 
day. I haven't met many stars. I am 
simply surrounded by them at Maple 
Drive, including- Mr. Gleason — you re- 
member "Is Zat So?" — who lives just 
opposite, and a big director who lives 
next door to me. 

Miss Bedford has been terribly kind. 
She grot the house, she has arranged 
the telephone and the water supply, 
and in fact has been a mother to me. 
She told me it was the maternal in- 
stinct working, so that's how I put it. 



82 



The New Movie Magazine, July, 1932 



Edgar Wallace's 
Hollywood Diary 



Saturday night, 12th Dec, 1931 

AFTER I finished the previous lines 
of the diary I went down to the 
studio, attended to one or two calls, 
lunched with Cooper in the restaurant, 
and collected the photographs which 
had been taken of me, and which you 
will have received by now, or probably 
at the same time as this reaches you. 

I then went to see him taking one of 
these process shots. The camera shoots 
against a blue background lit up by 
about fifty orange arc lamps. It was 
two men making an attack upon a pre- 
historic beast. The beast, of course, 
was not there : he is put in afterwards, 
and every movement of the man is 
controlled by a man who is seeing the 
beast through a moviola, that is to say, 
the film of the beast, and signals by 
means of a bell every movement that 
the men make. It is called the Dun- 
ning process. 

I then came home to my new home, 
and found the owner of the house, Mrs. 
Cook, in a great state, because she had 
a bad cold, and was not out of the 
house as soon as she had expected, and 
was very anxious to leave everything 
speckless. 

We have got into the habit of going 
to the Brown Derby, w T hich is a little 
restaurant right opposite the Beverly 
Wilshire, an all-night place, and hav- 
ing coffee and pancakes. I am not so 
sure that they help one to sleep. 

I borrowed a big table from the 
studio and had it put in the living- 
room. One day next week I'll get the 
studio people to send a man up here 
and take a few shots so that you can 
see what the place is like. 

My first step, the evening being 
chilly, was to light the log fire. Un- 
derneath the grid where the logs lie is 
a gas pipe; you light this, and that 
of itself is very cheerful ; flaming white 
sas jets go half way up the fireplace. 
In about ten minutes the logs are 
alight, and you turn off the gas. 

The logs are still burning, by the 
way. 

Guy Bolton and Virginia Bedford 
came. Virginia brought me some 
flowers and put the finishing touches 
on my household organization, ordering 
me grub for tomorrow and deciding 
that I can only have meat once a day. 

Robert has risen to the occasion 
nobly. He has found an ironing board, 
cunningly let into the wall and appar- 
ently a long cupboard until you open 
it and pull the board down. He is mak- 
ing me cups of tea every few r minutes. 

I am going to try to collect the 
stories of Hollywood. They are really 
remarkable. One of the executives 
found a cowboy at a local rodeo doing 
wonderful rope tricks. He was a tall, 
handsome fellow, and the director said 
at once: "This is star material." He 
gave the man a contract and put him in 
a film. He was a handsome-looking 
fellow except that he had bad teeth, 
so they set him up with a new set of 
teeth at a cost of S600. On the third 
day of the picture he came to the di- 
rector and said: "Say, couldn't some- 
body else double for me in the love- 
making scenes, and let me do the rop- 
ing?" Eventually he was so rotten 
that they got rid of him. and after 
he'd been paid off the chief of the 
(Please turn to page 84) 



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The New Movie Magazine, July, 1932 



83 






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Edgar Wallace's 
Hollywood Diary 

( ( 'ontinm d from i"i!i<- 88) 

taff, in the mid t of ,-i conference, said : 
".My God I he's got our teeth." Ordei 
were en1 to Intercept him and gel the 
teeth back, but apparently it didn't 
work. 
Guy .'mil Virginia stayed till about 

live o'clock. I went rail to .sec them 
into their car. It was a most wonder 

fui Bight -a most gorgeous orange Bun- 
et behind the houses on the opposite 
ide of tii" i reel in one ( ,f which, bj 
the way, lives the author of "Fata 
Morgana." Down to the left you 
could ee the great spread of the lie 

of Hollywood. I never saw anytl 
more lovely. 

There are oranges growing in my 
den, and four precious— I forget the 
name of them: you have them in salad; 
they are a kind of apple. (Edit 
Note: avocados.) Anyway, they onl 
bloom once in five years, and the only 
regret the owner had was that tl 
were almost ripe and she was leaving 
them. There are narcissus growing, 
and B few other flowers, and there is a 

hush or two of blue plumbago. In the 

center of the garden is a lily-pond with 
a tmy fountain. Altogether it is a swell 
house. 

Approached by night, it is a beauti- 
ful-looking place, with a sort of stained 
glass window, and a yellow iron la 
fixed to the wall and a crazy pavement 
with grass growing between. 

Virginia has fixed me up a Japanese 
gardener and a black cook, who I pre 
sume will arrive in her own car, and 
Bob has dealt with all the tradesmen. 

Sunday morning, 13(/i Dec, 1931. 

MY first night in the new home was 
a very comfortable one. I slept 
very well. Everything is so dainty and 
the sheets and linen generally are of 
such excellent quality. Robert brought 
me up my tea at a quarter to seven. 
I don't think he went to bed very much, 
he was so thrilled with his new op- 
portunity. 

This morning, however, there was 
nearly a tragedy. We ran out of milk. 
We telephoned frantically to our friend 
and saviour, Guy Bolton, who turned 
up in a golf suit with a bottle of milk 
under each arm, having motored 
round from North Camden. It is about 
six blocks away. 

I went out in the garden and had a 
look at it. There are two big orange 
trees, if not three, in full fruit. There 
is even a pomegranate tree, a lemon 
tree, but I could not find the avocado 
pears or apples or whatever they are. 

There are quite a number of flowers 
growing, including a brilliant six- 
starred flower, the blooms of which are 
about nine inches across. . 

The new cook is about thirty-five, 
stoutish, colored, and her name is 
Marie. She has large ivory earrings 
and a pleasant smile. 

Monday, Uth Dec, 1931. 

BOB and I worked on the new story 
till quite late last night, and 
started again early this morning. One 
or two little bits of furniture have 
come up, including a writing chair 
which is very swell and has been lent 
me by the studio. It looks like a mil- 
lion dollars and the Prince of Wales. 
This afternoon your mail came. I 
am wiring you tonight. 



84 



The Neiv Movie Magozive, Jvhj, 1032 



Edgar Wallace's 
Hollywood Diary 



(Between this and the last sentence 
the wire has gone.) 

We have been working, as I say, 
steadily through the day. Bob has 
been doing the working. I've been do- 
ing the thinking. We are getting out 
a real scenario and continuity, a copy 
of which will be mailed to you. 

I'll be glad to get my first film play 
under way; it will give me a little more 
confidence. It was not as easy to do 
as it looks, and I don't think it can be 
done in a terrific hurry, though I am 
doing it faster than anybody else. 

I am going to settle down steadily 
to work now I have got this house. I 
find work is quite possible. I may go 
down for a couple of hours to the 
studio and sit in at conferences. 

Cooper (Merien) is coming up to see 
me tonight — in fact, in ten minutes' 
time, and his arrival will probably in- 
terrupt this letter. 

Tuesday, 15th Dec., 1931. 

WE finished the scenario late last 
night, and I am mailing a copy 
to you in accordance with my usual 
practice and custom. 

I don't want to come back to the sub- 
ject of your coming out, if I go the full 
length of time, but I'd like you to tell 
me about this. I know you will discuss 
it quite calmly, because it is not a ques- 
tion of raising or dashing my hopes. 
I want you here tremendously, but I 
don't want to be stupid about it, and if 
you are going to worry about leaving 
Penny, then I'd rather you didn't come. 
What is going to influence you too, I 
know, will be the play. I had an idea 
of asking Pat (another daughter) to 
come out for a month, but as we shall 
all be coming out next year, I hope, 
the journey hardly seems worth while. 
I have got a tremendous lot of work 
to do, and I shall be pretty busy right 
through Christmas, so don't have any 
sad views about my being all alone. 

Wednesday, 16th Dec., 1931. 

LAST evening Cooper came up from 
J the studios and read my scenario, 
which he liked. Guy Bolton and Vir- 
ginia Bedford came to dinner. We 
had really a nice dinner, with a good 
soup, duckling, green peas, asparagus 
and ice cream. They stayed till about 
ten. Most people go home about that 
time, except the very riotous ones. 

It is a warm day, and I went out to 
lunch with them at the Embassy, which 
is on Hollywood Boulevard. To get 
there one goes along the Sunset Boule- 
vard, which is perhaps the most gor- 
geous thoroughfare in the world, for 
it gives you a view right across the 
city of Los Angeles to the mountains. 

The houses here are really lovely. I 
am looking round for one to suit us 
when we both come out here with the 
family. There is a wonderful sun and 
it's warm, and the poinsettias are a 
blaze of color in all the gardens. No- 
body would dream it was the week 
before Christmas. 

It must sound funny to you when I 
talk about going into Hollywood, but 
really Hollywood is as far from here 
as Maidenhead is from Bourne End — 
in fact, a little bit farther, and it is 
distinctly a different place. 

They rang me up this morning from 
(Please turn to page 86) 




X 



Summer isn't all fun for babies. Sometimes 
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3. Dress very lightly. 

4. Plenty of water to drink. 

5. Plenty of sunshine and fresh air. 

6. Keep bowels open. 



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The Netv Movie Magazine, July, 1932 



85 



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Edgar Wallace's Hollywood 

Diary 



(i 'ontinui il from /»<.'/■ 



the studios and Mked me what I wa 
doing, :unl I told them thai I wa nol 
do any more than one story a 
week, which has become a game of 

mine. 

All this Immorality of Hollywood is 
bunk. 

I am glad you liked the econd instal- 
ment of my diary. That must have 

been the one I posted in Now fork. 
They will come to you continuously 
now, excepl for the bad Bailings, and 
all the letters I send will conic by air 

mail. 

I am sleeping very well. I met 
Bayard Veiller here. (Editor's Note: 

The author of "Within the Law," "The 
Trial >if .Mary Dugan," and others.) 
He wants me to po out to dinner one 
day this week at his home. I am din- 
ing out on Saturday somewhere, and 
I am going to a sort of dinner and 
party. 

All the windows here have fly- 
screens: they are like blinds; you pull 
them down. It is a most excellent idea. 
They run flown in a groove, and you 
fasten them at the bottom. I am go- 
inp to find out how much they cost and 
how they are fixed, and have them 
fixed at Chalklands. They roll up on 
a spring roller. In spite of which a 
number of flies have pot into our room, 
causing us great mental strain, but I 
think we have killed most of them. 

I tell you these little things because 
little things are interesting. 

Thursday, llth Dec, 1931. 

WE all went to bed early last night 
— 10 o'clock — and Robert called 
me at six. You have no conception 
of what sunrises are like in California. 
When I looked out of my window this 
morning I saw a sky of beautiful deep 
red and orange, although it was still 
darkish. It rises behind the Beverly 
Hills somewhere. It is grand then to 
look through the front windows and 
wateh all these white houses in North 
Maple Drive turn crimson and yellow, 
and, of course, the air is glorious. 
You'd never dream it was winter. My 
gladioli have kept a week. 

Today is our washing day. We don't 
send our stuff to the hand laundry, but 
have an electric boiler and washer, and 
a colored lady comes and does it. It is 
dried on a vulvar line, but out of sight 
and amongst the orange trees. 

It is the practice out here to decorate 
the trees in front of the houses — if 
possible, a fir tree — at Christmas. The 
chairman of our Chamber of Com- 
merce, Miss Mary Pickford, about 
whom you may have read, has ordered 
that we shall be illuminated on Friday 
night. Today the electrician is coming 
to decorate one of my two trees with 
pretty little lights. It will be lovely 
in Beverly Hills throughout next week. 
Given a full moon, which we shall 
have, and perfect weather, which is 
almost certain, and the lights of Los 
Angeles below us, which is Montreux 
multiplied ten thousand times, it will 
be a wonderful spectacle. 

After Marion Davies had been taken 
out sixteen times to see the wonderful 
lights of Hollywood, and had been po- 
litely ecstatic on each occasion, she 
said wearily: "Yes, I can see them. 



Ind at midnight they all come to 
gether and pell ' Mai ion Davie .' " 

I went into the Hollywood Boob 

Store and v. nized without mv 

arette. I bought ome itationery 

and a lot of other things, including the 

gaily decorated envelopes of which you 

may have a sample. I also bought my- 
self a new hat. 

I put into circulation a little wise- 
crack of mine. When the executive 
told me that the story I wrote last Sun- 
day was a pood one hut not a ere.it 
one, I replied: "I never write great 
stories; I only write In- t sellers." That 
I think, will get around. As I say, 
we don't ask for publicity, hut when 
it's there we get it! 

I pot back to lunch and was deciding 
to go to bed when a 'phone call i 
through from Selznick, the production 
manaper, and I slipped down and had 
a conference with Selznick and Coopei 
about material for Constance Bennett. 
I think I know the story I shall write. 

I pet on terribly well with these ex- 
ecutive people, and I believe they are 
awfully pleased with me. If I pet this 
hip story over it will he grand. Selz- 
nick said: "If I can pet two bip 
stories from you in the four months 
you are here I'll be damned lucky." 

Do you know I have an idea that I 
may make my hit out of stories that 
aren't criminal at all. I have always 
had that feelinp since I left England. 
That would be grand. 

Friday, ISth Dec, 1931. 

IN order that I should see Constance 
Bennett I went down last night to 
the studio and saw a run through of a 
picture in which Richard Barthelmess 
and she appeared, she as a minor 
character. It was called "A Son of the 
Gods." I like Constance Bennett; I 
think she can act, and I think I have 
got quite a good story for her. 

Our Christmas tree has arrived; it 
is fifteen feet hiph and stands outside 
my window on the lawn, visible to the 
populace. We had dug out a lot of 
electric light bulbs, evidently used for 
this sort of thing before, and I have 
supplemented these with a new strinp. 
The problem that Robert and I and 
Bob had to decide was whether we 
would have an illuminated star at the 
top, for an illuminated star costs three 
dollars, but as Robert said, all the best 
Christmas trees have these, and as ours 
is poinp to be one of the best Christmas 
trees I have pone the whole hop and 
boupht the star. Anyway, it will do 
for next year. It really must be photo- 
praphed both alipht and by day, and I 
am going to see what can be done about 
it. 

I have had an invitation to po out 
for Christmas, and Mark and Karen 
wired to Walter Huston, who called me 
up today and asked me to po to dinner 
with him on Sunday. As I want Sun- 
day for myself I told him I couldn't 
po, and I am lunching with him at the 
Colonial House next week some time. 
I am dininp tomorrow night, as I told 
you, with somebody whose name I have 
never heard and have now forgotten. 
John Balderston will be there. 

By the way, when I opened my ac- 
count at the Security First National 



-3 



The New Movie Magazine, July, 1032 



Edgar Wallace's 
Hollywood Diary 



Bank yesterday, the lady who shoots 
the works asked me where I was work- 
ing, and I told her on the R.K.O. lot, 
and she said: "Oh, yes, an actor?" 

I didn't say "Actor be !" but I 

looked and felt it. To think I've come 
all this bloody distance to be called an 
actor ! 

As I say, the idea of the Constance 
Bennett film appeals to me very much 
indeed. I am really thinking of it 
when I ought to be thinking of the 
work immediately to hand. 

Sunday, 20th Dec, 1931. 

IN the evening I went to a party. I 
don't know the name of my host, 
but he's the man who produced "Out- 
ward Bound," a Russian, rather bored, 
with bright red hair and side whiskers. 
I met John Balderston and Alice Joyce, 
a lovely woman, with a girl of sixteen. 

It is amazing the number of people 
one meets who have read every book 
one has written. The food was cooked 
by a Chinese, and it was Chinese. I 
got through it all right without mak- 
ing a scene. 

Today I am working on the scenario 
for Constance Bennett, and am ap- 
proaching it a little gingerly, because 
I want it to be terribly good, which 
means that a lot of it will have to be 
re-written and then re-written. 

The story I am attempting for Con- 
stance Bennett is something entirely 
different from anything I have tried. 
That is why I am approaching it with 
such care. 

What I want to do is to get a picture 
over which I may direct myself. 

I dreamed last night that Steve 
Donoghue was dead. Is this a sign 
that Michael Beary is coming out? As 
a matter of fact, I never expected he 
would. 

If I can make some big and easy 
money here I should certainly buy a 
house. There are some beautiful places 
in the market, and even if one didn't 
live here it would be a good investment 
with the property market at its present 
low level. 

I am still sleeping remarkably well, 
and though I had a little chest, due to 
going out in the cold when I was hot, 
that has practically passed off. 

I think that R.K.O. want me to di- 
rect some picture, which I should very 
much like to do. 

Monday, 21st Dec, 1931. 

OUR Christmas tree blew down to- 
day, but has since been re-erected. 
We looked rather foolish for about 
half an hour, but the status quo ante 
has now been restored. 

There is nothing new to report. I 
am going round to Guy Bolton's on 
Christmas Day for a cocktail, but I 
simple dare not pledge myself for the 
evening; there is so much work to be 
done. I must say it doesn't seem a 
bit like Christmas, but then it never 
does. 



{Then Mr. Wallace began meeting 
people and being entertained by them — all 
of the big names of moviedom. Don't fail 
to read the next instalment of this human, 
detail-for-detail diary — in the August New 
Movie Magazine, on sale in Woolworth 
Stores only, July ISth.) 



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The New Movie Magazine, July, 1932 



S7 




Box-Office 
Critics 




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Brooklyn, \ . ) . 

.Mn iam rlopkin ■ 
has it ! as Elinor 
Glyn mighl 
but in this instance 
" i l " meaning that 

p ci ii t a n c (i u s , 

merry, appealing 

.sued nesa and ul 

ter sang-froid that stamps her as a 

true comedienne. 

Miriam convinces u that she i an 
a<-t comedy roles to perfect inn, beyond 

the shallow of a doubt. Her work 
in "The Smiling Lieutenant" anil 
"Twenty-four Hours' Leave" makes us 

really believe that she possesses that 

which Louise Fa/cnda anil .Mabel Xor- 

manil had which endeared them so to 

all of us. Girl comics are a rarity 
anil a blessing. I wish the screen eoulil 
specialize more in them, for a natural 
'■ill comic can be a hundredfold more 
capable of dispelling the blues than 
any ordinary dead-pan actor. 

Florence Sears, 
790 Marcy Ave. 

lor You, William 

New York City 
Just a big bouquet for a youngster! 

William Bakewell is one of the finest 
actors on the screen today. When a 
fan stops to consider his age, and the 
fact that, for six or seven years, he 
has been giving his best — and a mighty 
grand "best," at that! — to his work, 
it is certainly no wonder that he has 
risen from "bits" 
to the status of 
featured player. 

I first saw him 
in Universal's 
"Shield of Honor" 
about five years 
ago, and next as 
Tex in William 
Haines' "West 
Point." These two 
parts, the first a 
'bit" and the sec- 
ond a genuine op- 
portunity, left no 

doubt in my mind as to what he would 
do with his future. 

As a portrayer of sympathetic, 
weakling characters, he cannot be 
beaten, and as a straight lead he is 
head and shoulders above a host of his 
contemporaries. 

He has gone far, and he's going a 
meat deal further. Watch his smoke! 
John G. Whidding, 
12:1 West 106th Street. 

Betty Spank! 

Wooster, Ohio 

Why are so many stars going on the 
air? If they are supposed to be on 
the screen, they should stay there. If 
thev do not expect to be on the screen, 
they should find other work. You no- 
tice" that most of the stars who are on 
the air are failures on the screen. This 
statement probably has only one excep- 
tion, and that is Marie Dressler's re- 





ei tit radio appearance. The ones of 
whom i run thinking are Chai le 
"Buddy" Rogers and Dorothy Mackaill, 
I wish thai they (and all) would 
on the creen where they belong, i 

think the aim- about personal appear 
"ii the staue. 

Mi Bettj Jacobs, 

810 We I Vine St. 

I'mise for Directors 

Philadelph in , l'a . 

The fans usually go into ecst 
and rhapsodies over the merits of their 

favorite s t a is. 

However, I believe 

that some of the 
praise should go to 

the real geniuses 

of the screen, the 
directors. 

Of course, I en- 
joy the stars. I ap- 
preciate the charm 
of a Norma Shear- 
er, the power of an 
Edward G. Robin- 
son, the variety of 
a Ruth Chatterton, and the fineness of 
a George Arliss. But the men at whose 
shrine I worship are the King Vidors, 
the Ernst Lubitsches and W. S. Van 
Dykes. It is their artistry, their brains, 
their vision that are responsible for 
our screen masterpieces. 

To these directors I owe an eternal 
debt of gratitude. I feel towards them 
the admiration and esteem that I give 
to a fine artist, sculptor, and, yes, even 
writer. They are the men who, for a 
short period, lift us out of ourselves 
and satisfy our yearning for beauty 
and joy. 

Freda Karr, 
315 League Street. 

Hi, Bebe, Listen to This! 

Steubenville, Ohio 

What's become of Bebe Daniels? Why- 
has her popularity decreased? Cer- 
tainly the downfall can't be blamed on 
the talkies, because she has an excel- 
lent speaking voice — and a lovely sine> 
ing voice. Maybe it was her change 
from comedy to serious roles that 
harmed her. However, that didn't 
lower her in my 
eyes — just to look 
at her and hear her 
talk is enough for 
me, although I 
must say she 
couldn't be beat 
back in the days 
when she played in 
such pictures as 
"Swim, Girl, Swim" 
and "Hot News." 




THE NEW MOVIE MAGAZINE pays 
one dollar for every interesting and 
constructive letter published. Address 
your communications to A-Dollar-for- 
Your-Thoughts, THE NEW MOVIE 
MAGAZINE, 55 Fifth Avenue, New 
Yorlc City. 



88 



The New Movie Magazine, July, 1932 



Box- Office Critics 



I used to look forward to her pic- 
tures because I always had such a darn 
good time at them. I distinctly re- 
member rolling in my seat when I saw 
"Swim, Girl, Swim." Bebe Daniels 
wasn't so beautiful then. I remember 
in one picture she stood in front of 
the mirror and compared herself to a 
photograph of Lilyan Tashman, who 
was vamping her sweetheart away. I 
felt so sorry for Bebe because she suf- 
fered in the comparison. It must have 
been her make-up. 

But where is she? I wish she'd start 
playing her old comedy roles again. I'm 
sure all her admirers would come flock- 
ing to see her. 

As for me — I'll rush to see her in 
anything — even if she decides to play 
a female Hamlet. 

Miss Judith Shane, 
701 Oakmont Ave. 

Why Not Chinese as Chinese? 

Regina, Sask., Canada 

Why not genuine Orientals for the 
leading parts in those pictures that fea- 
ture Chinese characters? It should be 
easy enough to hire and train real 
Celestials in California, but so far as 
the public can see Anna May Wong is 
the only genuine Chinese you have 
trained in the whole history of the 
screen. We have recently witnessed the 
farce of Loretta Young trying a slant- 
eyed role and she fooled nobody; and 
you may recall what a flop "Java Head" 
in the silents was because they insisted 
on putting Leatrice Joy into the 
Manchu lady's part. 

White people, no matter how clever 
their make-up, never lend the necessarv 
realism, and the amazing thing is that 
the studios go right on with this pur- 
blind policy. 

I must admit that the late Lon Cha- 
ney used to do pretty well as a Chink, 
but it was his superb work that always 
put the thing over. Warner Oland, 
too, is close to the desirable realism. 

But just once I would like to see a 
film that presented Chinese characters 
that were obviously Chinese and not 
white players with their faces fixed up 
with collodion and wax and taking little 
mincing steps with hands folded de- 
murely across the stomach. I lived 
eighteen years in the Orient and never 
saw a native act that way! 

It is impossible to disguise a white 
individual as a Mongol, a Cantonese, 
a Jap, or a Siamese, so why not cut 
out the fake and give us the real 
thing? 

J. R. Bayne, 
No. Eleven Montague St. North. 

Healthy Sick Stars 

Philadelphia, Pa. 

I am a nurse and I am writing to 
say that in any picture I've ever seen 
the patient has always looked particu- 
larly healthy, no matter how ill. 

This is a chance for the make-up 
artist to get in good work. The eyes 
should be made to look sunken and the 
cheeks hollow in all cases, unless in 
case of sudden (supposed) illness. 
Anyway, a healthy-looking dying pa- 
tient is always ridiculous and spoils the 
impression meant to be conveyed by 
the picture. 

(Mrs.) Sarah A. Kincaid, 
Philadelphia Home for Incurables. 
(Please turn to page 90) 



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The New Movie Magazine, July, 1932 



89 



AVOID 
THAT DRY 

LOOK ! 



Box-Office Critics 

1 1 'ontinu* d from page B9) 




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Wants Laughs Now 

Copaki . V r*. 

I ..i ' ha\ e more "■•<> ' ii i ic hoot 

i. moi 'in i icated comedle 

with idei n ■ i ' in:' . '■•■ i e 

cracking heroes And heroines and who 
• t in r the plol i plausible, w e 
don't care whether we remember what 
it wa all aboul latei . Ju rl let us 
laugh now. 

Three cheers for Lilvan Tashman 
and Norma Shearer. Bob Montgom- 
ery, too. And please don't lit Joan 
Crawford go eriou 

A. Babette Vierhau . 

Copake, N. Y. 

Gene (Jets ;i Big Hand 

Philadelphia, /'". 
Girls, have you seen 'the new leading 

man? I think he could set any femi- 
nine heart beating faster. He is dene 

Raymond of "Personal Maid" and of 
"I. adiis of the Big House." Did you 
ever see such beautifully light hlond 
and wavy hair on any man's head? 

He should he in with the Wampas 
Baby Stars — if he or any man was per- 
mitted. I am quite sure he has the 
makings of a star and hope ho climbs 
ti the "starry kingdom." He is hand- 
some in a different way and doesn't 
sing badly either! He seems to be 
as tanned as any Hawaiian and has a 
beautiful smile. Could a girl want 
more in her favorite male star? 

But, seriously, I hope Gene Raymond 
becomes a star and remains on the 
screen. I think Gene Raymond and 
Sylvia Sidney make a fine team. Well, 
I'll be looking for pictures and an oc- 
casional photograph of him in NEW 
Movie very soon! 

Miss J. Nicholas, 
3058 Belgrade St. 

Sniff! Sniff! 

New York City 

An actress plays a part — makes a 
hit in it and she's never seen in any 
other kind of part. She's stamped as 
a type, and try as she may to convince 
the producers that she can play some- 
thing else — she's never given the 
chance. 

Is anybody else tired of seeing Con- 
stance Bennett suffer commiseration 
(sniff!) because there's a little body 
(sniff!) in her arms and the father 
(sniff!) doesn't care? Connie is my 
favorite because she is: 

Genuinely sophisticated. 

Everlastingly charming. 

Thoroughly the actress. 

But if she keeps on doing this sort 
of stuff, it won't be long before the 
fans will be laughing with tears in 
their eyes when Connie flashes on the 
screen. 

E. Kaufman, 
365 Cypress Ave. 

So Ruth's Passe? 

Newark, N. J. 

Of all the over-dramatic actresses, 
Ruth Chatterton tops them all. 

She might have been the first lady 
of the screen when movies were in 
their infancy, but she can't compare 
with our young favorites who win our 
hearts by just acting natural. 



I saw her late- i pi. tin.- and wa glad 

.■.a n't able to heai the "titter 

which he can ed when I'm sure : In- 
didn't mean to create comedy. 

Poor Ruth. I rues in- jui t hate 
to give up even though i"- realize 
that her type went out with the bu 

Mrs, Louis Kline, 

5 \\ inan Ave. 
More of Jolson 

Oakland, Calif. 

What, for heaven's sake, has hap 
pened to Al Jolson ami Davey Lee. 

Although I saw "The Singing Fool" 
quite a long time .ago, I have never 
forgotten their marvelous .acting. I 
think the public will agree with me 
when I say that Al Jolson de erve 
another good musical show like the past 
one and Davey Lee certainly should 
be cast opposite him. 

Mi ' 'onstance Crafts, 
312 Mont.- Vista Ave. 

Doesn't Like Roughness 

Washington, l>. C. 

Elver since Gangster Robinson made 
the public sit up and gasp in horrified 
surprise when he administered a re- 
sounding kick to a double-crossing lady 
of the underworld, certain feeble- 
minded directors have sought to pro- 
duce a similar effect by having big 
gorillas ship down defenseless women 
in the play. 

How surprised these nitwit directors 
would be could they hear the audience's 
suppressed exclamations of disgust at 
such exhibitions! 

What effect will such brutality in- 
evitably have on the rising generation? 
Brutishness for the sake of art! God 
save the mark! 

If the Czar of Filmdom, Will Hays— 
or the State Board of Censors — won't 
do anything, public opinion may do 
something, and it may not be pleasant 
for the film companies. 

Mrs. Arthur Lenox, 
934 Eye St. N. W. 

All Three of Us 

Oakland, Calif. 

Here is a Big vote of appreciation 
for those two excellent writers and 
grand persons on the New Movie staff 
— Elsie Janis and Herb Howe! Each 
one's individual style, charm, humor 
and spontaneity are inimitable. 

Of particularly personal interest 
were their articles in the April issue — 
the charmingly human and genuine 
story of our favorite actor, Ramon No- 
varro, and the mention of my favored 
spot in Alma Mater town; the pic- 
turesque El Paso de Los Angeles. 
Muchas gracias, "Boulevardier" y "El- 
seee" ! 

Mr. Howe, we eagerly anticipate 
more about this intensely interesting 
street teeming with local color. 

To the late and beloved Mrs. Janis 
and lovely Senora Samaneigo (Ramon's 
mother) we offer a tribute on Mother's 
Day. 

And— 

We thank you, Editor, for a page 
where fans in their own limited way- 
may express a few words of sincerity. 
Lillian Mae Malm, 
3869 Rhoda Ave. 



90 



The New Movie Magazine, July, 1932 



Why We Scold 
the Movies 

(Continued from page 31) 

during the winter and about one dinky 
circus every summer and maybe one 
memorable day at a country fair in 
September. Not forgetting Fourth of 
July or the political "rallies." Add to- 
gether all cf our jubilees and the sum 
total would strike the present-day juve- 
niles as being not so hot. 

When I was a "dramatic critic" in 
Chicago in the late nineties I was in- 
vited to the old Schiller Theater one 
day to see a demonstration of what a 
Frenchman named Lumiere could do 
with a projecting lantern called the 
"Cinematograph." It was the first 
moving picture, for all of the spec- 
tators, and when we saw a blurred cav- 
alry charge and a shadowy mix-up of 
football players we got a wallop such 
as no super-special could give us today. 
Just about that time Mr. Edison was 
beginning to get some results with his 
first crude "bioscope." Every vaude- 
ville bill began to show a few flashes 
of "animated photography." Even the 
wisest prophets could not have foreseen 
that these fool run-around pictures 
were going to develop into a major in- 
dustry which would revolutionize the 
daily habits of the world. 

THIS is not going to be a history of 
motion pictures, and yet we cannot 
get a correct angle on the public atti- 
tude toward the "talkies" unless we 
know what has happened from the be- 
ginning. 

The first real picture shows were the 
"nickelodeons." Every vacant store- 
room became a theater. The largest 
staff consisted of a ticket-seller, a 
ticket-taker, a strong-arm piano player 
and some one to crank up the project- 
ing machine. A show lasted about 
thirty minutes. Feed them in the front 
way at a nickel a throw and then rush 
them into the alley. It was small-fry 
showmanship, but it made Marcus 
Loew a millionaire and started many of 
the magnates who later sat on thrones 
in Hollywood and seemed to have a 
stranglehold on the world. 

Next came the short comics and the 
first galloping "Westerns," when it was 
discovered that a picture could be made 
a kind of drama instead of a mere med- 
ley of assorted subjects. The plays be- 
came more and more ambitious, the act- 
ing more skillful, the photography less 
muddy, and a fellow known as a "di- 
rector" began to get his name on the 
screen. The picture house appeared as 
a new type of theater and the stars 
came out and began to twinkle and a 
movie metropolis popped up, like a 
mushroom, in southern California, and 
the old-time theaters, devoted to vaude- 
ville and plays performed by living 
actors, were heard to say "Ouch!" 

You probably know all the rest, in- 
cluding the sensational appearance of 
"sound effects," the mad rivalry be- 
tween huge corporations, the over- 
building of monumental palaces, the 
ridiculous rise in salaries, the fantastic 
array of real and phoney "stars," the 
smashes and crashes and busts and 
flops — all leading to the good old year 
of 1932. And what a year ! Every one 
living in a marble mansion and cov- 
ered with jewelry and starving to 
death ! 

(Please turn to page 92) 



The Kind 
Gary Coopers 
Mother Makes 







WEEMS3EE31EE51 




GRIDDLE 
CAKES 

WHEN Gary Cooper 
decided to go on rec- 
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the Movie Stars" he chose 
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something extra-special, ex- 
tra-good, Buttermilk griddle 
cakes, the kind his mother 
makes. Some like griddle 
cakes with puddles of corn 
syrup and rills of butter; 
others serve them with cinna- 
mon and sugar or spread with 
honey. Gary Cooper offers 
his guests a wide variety of 
"trimmings" when he serves 
them at his Montana ranch. 



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Tine New Movie Magazine, July, 1932 



91 



Why We Scold the Movies 



it was a dandy ride while it I 
and before w e banged into the ro< k 
we fortned) along with out other dainty 
habits, :i moat epicurean taate aa to 
picture showa Lei me indicate what I 
I live oul here in the country, 

fifty milrs from what would bo Called ■ 

in I '.'on there wa ■ not one thea- 

f any kind open daily within fifty 
milee of thii ipot. I a t night I went 
two milee to the west to ••! village of 
eight hundred people ami saw ami 
ne Lupin," with the Barry- 
mniiv- and a great cast, ami it was done 
perfectly. I could have emu' eight 
milee farther to another small town to 

Tin' Silent Witnes i could have 
e eight miles directly south from 
my country home ami found "Fireman, 
Save My Child." 1 could have gone an- 
other eight miles smith ami enjoyed 
"Amateur Daddy." "i I could have 

twelve miles east from my place 
ami enjoyed a lot of thrills with 
"Jimmy Cagney in "The Crowd 
Roars. What i more, I have over- 
looked a couple "f shows. I am trying 
to toil you that last evening, within 

riding distance of my phut.' out 
here in tin- country, certain talking pic- 
tures were being offered to the public, 
ami the total cost of these pic- 
tures, for actors, settings, costumes, 
music, direction and incidentals, 
could not have horn less than three 



i om /<".'/' '.'I » 

million dollars, ami not one house 

charged more than thirty-five cents 
admisi ion ! 

NOW, then, the show which came to 
our town hall when I wa a hoy 

and stayed for om- oighl only repre- 

ented a total investment of possibly 

one hundred dollar for cenery, cos- 
tumes, musical instruments and sec- 
ond-rale performers. We never got a 
circus that had more than one ring or 
one elephant. When I was writing 
plays a few year a("> and having them 

produced by such amlutious managers 

as Charles Frohman, Henry W. Savage 

and Charles It. Dillingham, we figured 

that if we put on an ordinary talking 
play and it turned out to be a "bloom- 
er," somebody would lose not over ten 
thousand dollars. Some of the musical 
plays, such as "The Sultan of Sulu," 
Peggy from Paris," "The Sho-Gun," 
"The Fair Co-Ed'' and "The Old 
Town," in which the chorus jriiTs had 
to be dolhd up and we bail several 
changes of costume, may have run the 

CO i of production up to thirty thou- 
sand dollars, although most of the 
plays I have named were put on for 
less than that. 

Any one of those thirty-thousand- 
dollar productions, if now transferred 
to the talking screen, would be called 
a "bum show" by the average small- 



town critic No play goer anywhere in 
the world had 111 h a choice hill of fare 

offered him as the one I looked over 
last night before deciding to take "Ar- 

i i i Lupin," with a good comic and u 
late now reel, all for thirty-live © 
It is my guess that the feature play 
cost not less than $800,000. 

in every village theater the natives 

are now getting, for just, about nothing, 
the kind Of mtl Ic never heard hefore 
except in metropolitan concert halls 
and opera houses and high-priced danc- 
ing resorts. 

We rot. for a nickel something that 
costs some one a thousand dollars, and 
we don't seem to realize that wc are 
getting a bargain. 

We have stuffed ourselves with the 
richest and rarest and most costly foods 
ever served in the world, and then we 
wonder why we have indigestion. 

We go and take in a talkie that costs 
a million dollars, and after that we 
sneer at one costing a mere half mil- 
lion. 

The plain truth is that we have been 
pampered too much. We are like the 
spoiled child, born of rich parents and 
overindulged. We have lived on such 
intimate terms with all the stars of 
these stupendous productions that we 
are a little fed up on all of them, and 
that is why we are given to scolding 
the movies. 



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92 



The New Movie Magazine, July, 1932 



In Defense of 
Garbo 

(Continued from page 55) 

I liked Valentino, admired him. He 
radiated an earthly warmth and hearti- 
ness. Ramon in his way was just as 
lovable. Devoutly religious, a Galahad 
of ideals, he reminded one of that gay 
Boulevardier, saintly troubadour of 
Assisi. 

But Hollywood did not approve of 
Ramon's type. What he needed, they 
said, was sex, worldliness and experi- 
ence in necking. In their egotism they 
supposed he had never had these edu- 
cational opportunities. I read in one 
column that Ramon had just been edu- 
cated to his first cocktail. I happen to 
know that Ramon knew more about 
wine and cocktails than the hosts who 
were educating him. 

Ramon is plastic. He is easily in- 
fluenced. He hasn't the stubborn in- 
tegrity of Garbo. Well, Hollywood has 
succeeded in bringing Ramon out, as 
they call it. And they have succeeded 
in making him miserable. 

Ramon loves his family with a pious 
devotion. That family has culture, 
tradition, idealism beyond the com- 
prehension of Hollywood. Ramon never 
leaves the house without kissing his 
father's hand, his mother's brow. The 
life of the Samaniego family is a beau- 
tiful ceremonial. Having had the privi- 
lege of knowing it, I esteem it above 
the cheap worldliness of this wretched, 
corrosive Hollywood. 

Ramon's mother is a woman of 
spiritual beauty and gifts. Three 
of his sisters are nuns serving the poor 
and the sick. Ramon's father is a don 
whose hand is worthy of being kissed. 

How could Hollywood educate or 
"bring out" a son of such a family? 
How could they do anything but spoil 
him with their cheap gods? 

I talked the other night on the tele- 
phone with his sister, Carmen, a beau- 
tiful, shyly lovely girl. She said, "We 
are worried about Ramon. He is so 
nervous. He works too hard." 

So I went out to the studio to see 
Ramon and told him he had better get 
out of Hollywood, as Greta is getting, 
since the art of living is more im- 
portant than the art of being a star. 

RAMON has been bitterly hurt the 
- last two years. Friends he trusted 
implicitly have turned on him. But 
Ramon does not grieve. That's the 
charming thing about him. Like 
Scaramouche, he can say, "I was born 
with the gift of laughter and a sense 
that the world is mad." 

In fact, he did say, "You know our 
saving grace, Herb, is that no matter 
what happens we can always laugh." 

Perhaps the Hollywood experience 
has been good for him. The superfici- 
ality may make him appreciate the wis- 
dom and beauty into which he was 
born. 

Ramon Samaniego is so much more 
important than Ramon Novarro, the 
movie star, that I know he will return 
to himself. I have never known a finer 
character. 

JAMES CAGNEY, my favorite star, 
is at odds with Warners over his 
salary. Or is as I write this. He gets 
$1,400 a week. Ruth Chatterton gets 
$7,000. William Powell gets some- 
thing like that. 

(Please turn to page 94) 



The New Movie Magazine, July, 1932 



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93 





In Defense of Garbo 



EHJOV 
OOUBLEMIHT 

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OUT 




( < Kill i inn <l I rum jini/i [>:: ) 



i ;in you blame Jimmy? <>n the 
the other hand, can you blame War 
They ••i"' probably losing on 
( i , : L i terton. M I < lhatterton may be 
real technician. I've read that she 
is. But t ry ti> get me to ee b< i pic- 
tures. I have no appreciation of 
technique and English accent when 
poken by Americans and never could 
ee anything but artificiality in the 
\ aunted ( Ihal terton. 

Why contracts] anyhow? The re I of 
at don't have them. I wouldn't want 

one. If I don'l earn my money, i want 

to quit if I'm not getting what I'm 
worth. I want to quit too. The same 

.should go with a< ' 

Cagney is the most engaging male 

star OH the screen today. He should 

more. And he'll gel it. He' a 
ter. 

I'M glad Doug Fairbanks, Jr.. has 
over hie adolescent regard for 
the Barrymore manner. He's great in 
"It's Tough to Be Famous." Mary 

Brian, too, is a surprise. Now if .loan 



Crawford would Forget her eyebrows 

and diction, if Norma Shearer would 
overcome her giggle, if N'ovai ro would 
only sine-, if Marlene Dietrich would 

get another director, if Beryl Mercer 
appeared in more pictures, if Pola 
Negri got a real part, if Jeanette Ma 

Donald and Ramon Novarro did "The 
.Merry Widow," if Lore! t a Voiine would 
learn to act, if Clara Bow would come 
hack, if Marie Dressier would hurry 
along with the "Tish" story, if Uni- 
versal would make a great picture of 
that great story, "The Road Rack" by 

Remarque, if Garbo got a really great 
part, if i.upe would only come back to 

mamma and me, what a gay old world 

the screen would bet 

OX the set with Bob Montgomery: 
Bob said, "We actors must toil 
and suffer and give up our private 
lives. And what do we get out of it? — 

a fortune!" 

With a loud laugh. Bob adds: "Par- 
don me now while I go knock myself 
out with a powder puff." 



\ 



TheStarwiththe Broken Heart 



{Continued from page 27) 



Alma herself who was fighting him, but 
the impersonal evil that was trying to 
destroy her. 

"He failed. But it made him a man." 

Ricardo Cortez has become a star. 
He has become a fine actor. There is a 
poignancy to his work that I have seen 
seldom in talking pictures. Since he was 
a mere flashy, sexy leading man a few 
years ago, he has gained an under- 
standing of life that may make him 
really great. 

And that has come from a broken 
heart. 

Yet to know Ric is to know a simple, 
emotional, honest young man, who feels 
before he thinks, whose strongest 
quality is gratitude, who appreciates 
kindness and loyalty. The melancholy 
of his race lies deep within him. The 
true love of beauty brings him a sim- 
ple joy. Tears and laughter are al- 
ways closely mingled, and he gives the 
one as freely as he gives the other. 

Sometimes, nowadays, he seems al- 
most pathetically to seek life's laughter. 

"Has it come too late?" I asked him. 

"What?" 

"All this success — stardom, popu- 
larity, security. Has it come too late 
to mean to you what it once could have 
meant?" 

I was thinking of Alma, of the days 
he fought so hard to succeed for Alma, 
since he wanted to lay every gift upon 
the altar of his love for her. I was 
thinking of something Wilson Mizner 
once said to me, that success means 
nothing unless there is just the one 
person to cheer for you. 

RIC knew of what I was thinking, but 
. we didn't speak of her. Even now, 
he cannot mention the name of his dead 
wife without showing in his dark eyes 
the pain of his loss. 



H 

His 



E was born, this boy who wanted 
to be an actor, in New York City, 
name is John Kranze. 



I asked him about that, because 
though I've known him for ten years, 
I never somehow connected Ricardo 
Cortez with any particular past. Be- 
cause he looks so foreign, because he 
seems a romantic figure, somehow you 
just took it for granted that he lived 
a romantic life, full of excitement, that 
he had been born in some romantic 
spot. 

He smiled a little when I asked him. 
He has a nice smile, quick and anxious 
to please. There is that about him — 
he asks to be liked; he asks to be under- 
stood. 

"Do you know," he said, "you're the 
first person who ever asked me any- 
thing about myself? I don't know why, 
but nobody ever asked me about any- 
thing. They just seemed to take it for 
granted that I was born in Budapest, 
or Shanghai, or the Ghetto in Pitts- 
burgh. 

"The same with the dancing. Be- 
cause once they talked about me as a 
successor to Valentino — as though any- 
body could ever be another Valentino — 
everybody just assumed that I had been 
a dancer. I never danced profession- 
ally in my life — never earned a quarter 
as a dancer. And nobody ever asked me 
if I'd been a dancer. They just went 
on saying so. Funny, isn't it?" 

His mother and father came from 
Austria and Hungary. Came to Amer- 
ica, seeking the new land of freedom. 
Simple people of the middle class, de- 
voted to the idea-1 of home and family. 
To them, in the city of New York, were 
born five children, three boys and two 
girls. John was the oldest, and they 
looked up to him and expected much. 

When he was quite small he went to 
work, for the family wasn't rich. He 
helped in his father's business, he acted 
as office boy, he did odd jobs. 

And finally he became a runner for a 
brokerage house in Wall Street. Th? 
little family rejoiced, and Papa Kranze 
had great visions of his son as another 
giant of industry. 

The New Movie Magazine, July, 1932 



The Star with the 
Broken Heart 



SO, unknown to his father, the boy- 
began to follow the dictates of his 
own ambition. He fought his way into 
studios, he played extras, bits. He 
hung around the theaters and did any 
piece of work he could find to do. Lit- 
tle by little, he began to make headway. 
He had talent, he had looks. 

And then came a great and tragic 
blow. His father died. Two days later 
his favorite sister followed him. The 
little family was left destitute and very 
sorrowful. John became then the head 
of the family, and upon his young 
shoulders fell the burden of support 
for his mother and for those younger 
than himself. 

It was a heavy load for a youngster, 
but he worked hard, carrying two or 
three jobs at once, sending the others 
to school, trying to take his father's 
place with his mother. 

And at last he came to Hollywood. 

Strangely enough, he didn't come as 
an actor. He came as a business rep- 
resentative for the New York offices of 
Universal. But Irving Thalberg, then 
manager of Universal, saw him and 
soon had him before the camera. 

There is one illuminating little story 
about his early days in the film capital, 
where he had some quick and rather 
easy success. 

Paramount wanted him. Jesse Lasky 
was kind, enthusiastic about his work, 
ready to lend him a helping hand. It 
was Lasky, by the way, who changed 
his name from Jack Crane, under 
which he had worked in New York, to 
the picturesque Ricardo Cortez. 

Another company wanted him, too, 
for a big part and a bigger salary. But 
they took the method of telling him 
that he didn't amount to much, that 
he'd have to work very hard and that 
maybe he'd never succeed — that they 
were taking a big gamble with him. 

It is typical of Cortez that he signed 
with Lasky. 

JUST when he identified the lady he 
had seen on Fifth Avenue with 
Alma Rubens, then a great star, isn't 
important. It was soon after he came 
to Hollywood. But he was shy. She 
seemed so far above him. He was 
afraid to meet her. Three different 
times he asked friends to present him 
to her, to arrange parties where she 
would be present, and three times he 
lost his courage and didn't show up. 

Then one morning it came over him 
that he was wasting his life. That 
nothing would be complete to him until 
he knew her and at least chanced his 
suit. So he found out where she lived 
and sent her a great basket of flowers. 

And then they fell in love. Instant- 
ly, simply, completely. There was 
never any argument about it. Some- 
where in eternity, perhaps, that spark 
had already been lighted, and once they 
met it seemed as though they had al- 
ways known each other, always be- 
longed together. 

So they were married. 

ALL happiness lay before them. I 
can remember so well seeing them 
then in the Cocoanut Grove, both tall 
and dark and handsome. In those first 
years we used to point them out with 
pride, because they looked so grand to- 
(Please turn to page 96) 



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The New Movie Magazine, July, 1932 



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TheStarwiththe Broken Heart 



(Continued from page 95) 



gether and seemed so devoted. For 
Alma, for all her dark and romantic 
beauty, had a vivid, brilliant sense of 
humor that lightened the slightly seri- 
ous Cortez. 

He does not talk about Alma now. 
Simply because he cannot. 

But he used to talk to me about her 
then, because she and I were friends 
and his love boiled over in talk, as all 
true love does. When he wasn't with 
Alma he wanted to talk about her. 

Always he spoke of that brightness 
of hers, that lovely laughter. Of her 
understanding of life and people. Of 
the things she had taught him and the 
inspiration she was in every word and 
act of his life. She had, in all truth, 
taught him to laugh, taught him to 
love, taught him to live. 

To go to their home — they lived then 
in the fashionable Wilshire district in 
Los Angeles — was to be sure of hours 
of real delight. 

I think it was then that Cortez, who 
was born with a deep fear of life, who 
had that undertone of sadness in his 
character, who had known sorrow and 
toil from childhood, first began to be- 
lieve that the world was a pretty swell 
place and that happiness could be real. 

And into the very height of that 
brightness crept the dark shadow that 
was to destroy love and happiness, 
wreck his life and close forever those 
dark eyes so full of laughter. 

No one can blame Alma Rubens. No 
one but must see her as a victim, just 
one more victim added to the thousands 
who go down each year before the mon- 
ster of drugs. It began when she was 
very ill, and by the time she was well 
a.a:ain she had lost her identity as do 
all victims of the poppy. 

AT first her husband didn't know. 
Then he wouldn't — couldn't — be- 
lieve. It seemed impossible that such a 
thing could happen to Alma, who was 
always so strong a personality, so cour- 
ageous a woman. But at last he had 
to believe. There was no escape from 
a fearful reality. 

I think his heart almost broke with 
the agony of it. For Alma had been to 
him more than a woman. He hadn't 
only loved her, he had idolized and 
idealized her. The disillusionment al- 
most killed him. 

Then he faced it. To him, in long 
hours, came understanding. And with 
that understanding came a great pity 
for his wife. All censure went from 
him for all time. 

Have you ever fought for someone 
you loved against themselves? Have 
you ever tried to reach them through 
a great wall, behind which you could 
see them and where they seemed to be 
held prisoner? Have you ever known 
what it means to see the one dearest to 
your heart slowly turning before your 
eyes into someone else, as though black 
magic were transforming them? Have 
you ever bruised the wings of your 
spirit against the enmity of a loved one 
because you were trying to help that 
loved one? 

I hope not. 

There is no need here to go into the 
long details of that fight which Ricardo 
Cortez put up to rescue the woman he 
loved. There is no need to bring back 
the sordid story of their quarrels, their 
separations, her accusations, which 



96 



were never her own but always those 
of her master. 

But I know something of what that 
man went through. 

THE New Year's Eve before she died 
I spent with Alma. She drifted by 
chance into a party where I was. Be- 
cause she knew I understood, we had a 
long, long talk that night. And among 
other things she told me that though 
they had quarreled, though they were 
separated, in her heart she still loved 
Ric and that he had always been her 
best friend. 

In the beginning Cortez was a hand- 
some boy with a certain flair which 
women liked, a certain dark, magnetic 
charm. But he was a very bad actor. 
Perhaps his very modesty, his self- 
consciousness did that to him. Now 
suddenly he has found himself! It isn't 
possible to divorce that awakening from 
his love story — at least it doesn't seem 
possible to me. 

As long as he lives and no matter 
what happens to him, Ricardo Cortez 
will carry those memories — beautiful 
and tragic, glorious and terrible. And 
since a man is what his memory makes 
him, he must by the very nature of 
things have a well of emotion, a depth 
of understanding that is possible to few 
people. If there is anything in the 
old, old theory that a man must have 
suffered and loved and know life in the 
raw before he can be a great artist, 
Cortez should do great things. 

Hollywood doesn't see much of him. 
He plays golf, he rides a lot. On the 
RKO lot where he is soon to be starred 
in "Is My Face Red?" he is very popu- 
lar, because of his quiet courtesy, his 
ability to fit in anywhere, his lack of 
conceit. 

Not only as an actor has he devel- 
oped. From the boy I first knew, soon 
after his arrival in Hollywood, the 
change in him today is enormous. He 
talks well, he has a rather quiet, dis- 
tinguished manner. He can tell a story 
and not take too long about it. He 
doesn't go to parties, and he is always 
upset for days when anybody couples 
his name with that of some girl in 
Hollywood with whom he has been 
friendly. 

Week-ends he usually spends down at 
Malibu with George O'Brien, who is his 
best friend. Directors who work with 
him say that he never gets enough 
work, that he is always first on the set, 
last to leave, ready and willing to do 
any amount of labor to get the part 
right. 

PERHAPS you don't know how he 
got the coveted leading role in "Sym- 
phony of Six Million." Every actor on ! 
the lot wanted to play the part — in 
fact, almost every actor in Hollywood 
had his eye upon it. And the last actor 
anyone would consider was Ricardo 
Cortez. Cortez — the matinee idol, the: 
heavy man, the character actor, famed 
as a home-wrecker and a menace, for 
this sympathetic, gentle, emotional doc- 
tor? Never! 

He begged and pleaded, but they just 
laughed and told him to run along and 
forget about it. 

But he didn't. With his own money 
he hired lights, cameras, electricians' 
and cameramen. All by himself he 
went out in a deserted corner of the 

The New Movie Magazine, July, 1932 



The Star with the 
Broken Heart 



stage and all by himself he made scenes 
from the picture. He worked for 
weeks. And when he had done it as well 
as he thought he could he asked the 
director, Gregory La Cava, to look at 
his work. 

He got the part. 

There aren't many people in Holly- 
wood who will admit to being very 
much interested in acting. But Ric 
does and is. 

Perhaps some day some woman will 
come along and give Ric the compan- 
ionship, the sweetness that he so much 
needs. Perhaps just the right girl will 
know how to heal the wounds that life 
has given him. But that time is not 
yet. 

Right now Cortez sinks himself in 
work and carries a torch for the woman 
who taught him how sweet and how bit- 
ter life can be. 



Togo's Scream Play 

(Continued from page 43) 

wigg she will wear in new play called, 
"Love, Love, Love." 

"I tell you then," lecture Hon. Ogre. 
"To smash box office recipes from now 
on, we must invent a Play which will 
turn the blood of the Beholder into 
sour milk. O Horrus! Lots of green 
people crolling down chimneys to eat 
themselves alive! Sippose the Prin- 
ciple Character in this play would be 
a four-legged vampire with a " 

"Oh! Excuse, please!" This from 
me, standing on the carpet with pas- 
sionate feet. "I got a Snopsis for a 
screem-play I thought up last Satdy 
night while bathing dishes in your 
kitchen. Listen to what is it! 

"Lester Cartwheel are a beautiful 
gin salesman, in love with Elsie de 
Sneer, queen of N. Y. 400. Hector 
Whittleside, his Colledge Chumb, who 
used to play V2 back for dear old Yale 
while Lester played the other %, are 
the homeliest man in America. He got 
a face mostly on the lefthand side, 
axept his teeth & nose, which are right 
handed. He got such a disgustly ex- 
pression he can break windows by 
looking through them. Please think of 
something dreadful, multiply that by 
47 and you got Hector Whittleside. 

"Are you scared now? Very okay. 
Now see what happen. When Lester 
come to the sawmill where Hector work 
he bring 2 qrts gin to save his poor old 
mother. But those 2 dearie Colledge 
Chumbs are so Yale Boy when they see 
each other that they devour 1% quarts 
of that gin. O! With what depraved 
results ! 

"Now come the big scenery. While 
singing 'Boola Boola' Lester Cartwheel 
axidentally fell on buzz-saw. How un- 
expected! He cut off his head. 



""pHEN what could dear 
A for oldy friendship sake? 



Hector do 
Imme- 
diately he did it. He jump to buzz- 
saw, cut off his own head and give it 
to Lester. Rah-rah-rah for that no- 
bile act! Once a Yale man always blue 
for Yale! 

"7 or 9 years passes. Lester Cart- 
(Please turn to page 98) 




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The New Movie Magazine, July, 1932 



97 



Togo's Scream Play 



wheel are so happy all that time he do 
not know he are wearing Hector's very 
unfinished face. When he pass along 
street clocks stop and Fords start. He 
d) not think nothing of that. Love, 
love, love tickle his heart. Now he are 
so rich with wealth that he will go 
N. Y. and make Miss Elsie de Sneer 
love him because he still think he got 
that Jno Barrymore face of formerly. 

"He ring doorbell of stylish hotel 
where she live in society. She come 
enrushing to door. 'Lester, Lester, my 
perfect man!' she holla, then of sud- 
denly she look at that subdivided face. 
She pale up, she skreech out, 'Awk! 
Squeak! O horrus! O mercy sake!' 
Then she go crazy outdoors — " 

"Thanks dreadfully, Togo. That will 
be the story of my next Flim Play," 
snuggest Hon. Ogre. "Name of it will 
be 'Cold Shudders.' Now let me tell 
you how I shall start a revolution in 
Flimdom." All prepare to be knocked 
out. "Too long have Hon. Public sat in 
theaters watching beautiful actors turn 
their faces into vampires and babooms. 
But now will come sensation ! I shall 
hire the most beautiful belle in Holly- 
wood and change the part of Lester 
Cartwheel into a female." 

"Goshes!" holla Hon. Howard 
Hughes, "won't you have some mercy?" 

"I will find the Perfect Actoress," 
hissy Hon. Ogre, "and give her more 
than much publicity. How? I shall 
put her in that ugly-face part and ad- 



(Continued from page 97) 

vertise her as The Homeliest Woman 
in America. Think what an opportu- 
nity that will be to some poor but 
wealthy Hollywood gel, wishing to be 
more famus than she is. Togo, I make 
you my press agent. Go 4th and find 
some actoress anxious to be advertised 
like that." 

"Please, Hon. Sir," I narrate, "could 
I be armed with a baseball batt or 
something else killing?" 

"No, do it with your bare hands," 
snarrel Hon. Ogre. 

Therefore, Mr. Editor, I go 4th, look- 
ing for some world-renowed actoress, 
yerning to be advertised. This should 
be easy job for Japanese Schoolboy, 
you bet my bootware. 

First thing, what I see? Ah, Hon. 
Clara Bow, looking so pretty and cow- 
cattish she tickle my elebrows. 

"Hon. Clara," I say-so for sweetly 
smiling, "you are so delicious like a 
soda fountain and can act also. What 
say you take *** (3 star) part in show 
where you can arise rapidly in pro- 
fession." 

"0!" she delight. "For that I have 
been looking so long. What is?" 

"I got a wunnerful Play for you!" I 
pronounce. "Something so new that 
horses will fall dead. I tell you. In 
Part One you are your own dolling self 
with so kissible face. In Part Two 
you put hair on your face, stick your 
teeth in upside down and become a 
Gorilla. Think of the hitt you will 



make! Everybody in America will be 
talking about you." 

"Escape from me at once," she 
snarrel, "or I shall call the dog 
catcher." So she walk away on my 
sore feet. 

I are confused, Mr. Editor, but Jap- 
anese are not easy discouridged even in 
China. 

Nextly I know my heart feel dizzy 
from joy. For who go there toward 
Warner Bros Photograph Gallery? Ha, 
Constance Bennett, Esq. such an 
angel marmelade of womanhood! 

"Hon. Con!" I ball loudly, running 
after. "Please, you got time to make 
10000000$ this week and next?" 

"My first week in February, 1936, 
are not dated up yet," she tell. "What 
shall I do for that cash money?" 

"Almost nothing," I axclam. "You 
merely got to make such faces in a 
camera that people will say Hiddeus! 
Maybe you can hitch your face some 
way to scare vast oddiences to death or 
even further." 

"Sirrr! Sirrr! 

"I have married a Frenchman. He 
will meet you at dawn and poke swords 
with you." 

Well, think that! She pass off. 

Mr. Editor, what to do with this 
grandy Idea which jumped from brain 
of Hon. Geo F Ogre, world's greatest 
emotion picture Director? I ask to 
know. 

All this day and next I work like a 




98 



The New Movie Magazine, July, 1932 



Togo's Scream Play 

saw-horse, trying to make some Na- 
tional Beauty listen at this Swellish 
chance to make money in a year of 
depression. 

When I ask Hon. Joan Blondell she 
demand, "Roll a hoop," yet I could not 
find hoops. Hon. Lupy Velez look at 
me with such Spanish teeth that I feel 
daggers in my stummick. Hon. Nancy 
Carroll corrode, "Say two (2) more 
words and I will show you what Ire- 
land can really do." Hon. Garta Grebo 
just pierce me with her eyelashes and 
walk through me like a statue. 

At lastly, Mr. Editor, night fall 
down on me, making me all soft with 
sadness. O shux! I would rather sell 
cactus to Mexicans than ideas to ladies. 

Then who are next? Ah, so! Right 
there befront of me I beholt Hon. Janet 
Gaynor, so smallish and gentile like 
America's Other Sweetheart. Goody, 
I know she will want to learn how to 
scare poeple for a change. 

"Hon. Dolling Janet," I devudge 
rapturely, "would you make 100000- 
000$ for me in Pictures, by breaking 
the camera with a horble look on your 
dear face?" 

"Say that again in English," she 
narrate. 

I say. 

Then what happen? Refined Editor, 
I could not told you, nor even the 
police when they pick me up in frac- 
tions. Somebody had split me in the 
eyebrow with a 40$ umbrella and left 
4 lbs of my hair hanging to a palm 
tree. Somebody must have accom- 
plished that. But when next my head- 
ache was enabled to look around all I 
see where Hon. Janet going into a 
Talking Machine to get her picture 
photographed. Could it be pussible 
that it was Her that stroked me down? 
Hon. Janet with the Cream Puff smile? 

I am all choked with mystery. 

Hoping you are the same, 

Yours truly, 
Hashimura Togo. 



High-Hatting the 
King's English 

(Continued from page 51) 



that gets rough treatment regularly. 
The movie people dote on ink-weery, 
when all along you and I prefer in- 
quiry. 

A famous star sticks to ab-so-lute, 
when Pd prefer to hear him stress the 
ab instead of the lute. He also inserts 
a "most unique" occasionally, as though 
one thing could be more unique than 
another. And I also find that he pre- 
fers transpire to happen. And in 
"Trilby" he insisted on "pee-an-ist," 
which can never take the place of pe- 
an-ist. 

I TAKE these notes and jot them 
down reluctantly. I know how such 
complaints send scores of minor and 
major authorities rushing to the fat 
tomes for authority to combat the self- 
chosen martyr who dares to correct 
his fellows. So be it. I have invited 
the trouble. Now lay on! 



How To Really 

Get Rid Of 

Arm And Leg Hair 

Utterly Without the Problem of Coarsened Re-growth 




By a total lack of stubble you can feel the dif- 
ference between this and old ways. 



A Discovery That is Proving to the 
Wonder of the Cosmetic World That 
Hair Can Not Only Be Removed In- 
stantly, But Its Reappearance Delayed 
Amazingly. 

A way of removing arm and leg hair has 
been found that not only removes every 
vestige of hair instantly, but that banishes 
the stimulated hair growth thousands of 
women are charging to the razor and less 
modern ways. A way that not only removes 
hair, but delays its reappearance remarkably. 
It is changing previous conceptions of cos- 
meticians about hair removing. Women are 
flocking to its use. The creation of a noted 
laboratory, it is different from any other 
hair remover known. 

What It Is 

It is an exquisite toilet creme resembling a 
superior beauty clay in texture. You simply 



Not only is slightest fear of coarsened re-growth 

banished but actual reappearance of hair is 

slowed amazingly. 

spread it on where hair is to be removed. 
Then rinse off with water. 
That is all. Every vestige of hair is gone; 
so completely that even by running your 
hand across the skin not the slightest trace 
of stubble can be felt. And— the reappear- 
ance of that hair is delayed surprisingly! 
When re-growth finally does come, it is ut- 
terly unlike the re-growth following the 
razor and old ways. You can feel the differ- 
ence. No sharp stubble. No coarsened growth. 

The skin, too, is left soft as a child's. No 
skin roughness, no enlarged pores. You feel 
freer than probably ever before in your life 
of annoying hair growth. 

Where To Obtain 

It is called Neet — and is on sale at all drug 
and department stores and beauty parlors. 
Costs only a few cents. 2 y 6A 



Neet 



Cream 

Hair Remover 



NEW IDEAS About Cooking for Two 

Young brides love this set of circulars. It gives new ideas about daily 
menus and new proportions in the smaller quantities which cooking for 
just two entails. Here are a few of the many tempting recipes: Dessert 
Pancake spread with Jelly; Frozen Whipped Cream Cup Cakes; StufFed 
Cherry Salad with Cheese. The set of eight circulars is only ten cents. 



TOWER MAGAZINES, Inc. 



55 Fifth Avenue 



New York, N.Y. 



The New Movie Magazine, July, 1932 



99 





SEVEN 




WEEKS 




OUT DF 




EIFTY-TWO 










MODESS 
gives you maximum 
comfort and protection 
for the 50 most trying 
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Johnson & Johnson. 

MODESS 

SANITARY 
NAPKINS 



^MAKE-UP BOX 



EYES are looking up in the 
cosmetic world. If yours 
aren't beautiful it will be your 
own fault. One house has 
brought out a new eye-cream 
and a new eye-wash that form the basis 
of a shop treatment, but may also be 
purchased for home use. The cream is 
soft and thick and light brown in 
color, planned particularly for mas- 
saging the tender and 
often wrinkled skin 
around the eyes. Cool 
fingers, kept that way 
by smoothing them in- 
termittently over ice, 
massage round and 
round, gently, but firm- 
ly. The eye-wash has 
a pleasingly exhila- 
rating effect. They are 
featuring a delightful 
new hand-cream, too. 

And when you have 
finished treating your 
eyes right, you may 
now put them in a new 
frame. Artificial eye- 
lashes, long and curly, 
are being sold in a 
form for home use. At- 
tached to a thin trans- 
parent strip, they are 
fastened to the eyelid, 
all in one, with an ad- 
hesive liquid that is 
supplied in the pack- 
age. You can remove 
them easily at night 
and put them on again 
the next morning. 





New lotions for the eyes 

and the hands, are in 

new bottles. 



Have you heard 
about the new 
machineless perma- 
nent? No elec- 
tricity, no metal 
heaters? Impos- 
sible? No, not at 
all. The sachets 
that are wrapped 
around each curl 
contain a chemical 
pad and a flannel 
pad which develop 
the steam required 
for a wave when 
the flannel has 
been dampened and 
the pad perforated. 
The first curl is cool by the time the 
last one is wrapped, and the heat is 
accurately controlled by the chemical. 

Two new lipstick shades have been 
added to the roster. Termed bright 
and extra light, one shade is particu- 



These French cosmetic 

bottles are designed in 

black and yellow. 



larly interesting in that it is 
very light without having an 
orange cast — a color tone that 
many women have been seek- 
ing. 

A French house, noted for its per- 
fumes and lipsticks, is bringing for- 
ward new cosmetic lines, which include 
a cream to take the shine off one's nose, 
a corrective milky lotion, and a special 
skin cream. 

You can take your 
cotton pledgets for re- 
moving creams and lo- 
tions now from a smart 
new container, com- 
bining black and bou- 
doir colors. The cover 
is strong and secure — 
made of metal. 

The cotton is removed 
at the top, a gentle or 
a firm tug regulating 
the amount. Orchid, 
coral, blue and green 
are the color choices. 

A bath-salt odor for 
every mood is contained 
in the new smart pack- 
age of assorted bath 
salts being shown by a 
house which is also fea- 
turing a metal flacon 
perfume-container for 
purse use. It's refill- 
able from the back, and 
the top screws off like 
a watch. The flacon, flat 
and watch-shaped 
though it is, holds more 
than enough to get you 
through a week — 




or a week-end. 

A complete 
treatment, packed 
all in one box, is 
being offered for 
your dressing table 
now. Included is a 
face pack, recom- 
mended particu- 
larly for black- 
heads, blemishes 
and coarse pores, a 
tube of cold cream, 
foundation cream 
and powder. 

// you wish to 
know the names and 
prices of the articles described here, 
write to the Beauty Editor, Tower Maga- 
zines, 55 Fifth Avenue, 
New York, N. Y., en- 
closing a stamped, ad- 
dressed envelope. 




Two new light-shad© 

lipsticks you will 

want to try. 



Eyelashes that 
come in a box 
ready to apply. 




100 



The Neto Movie Magazine, July, 1932 



Plan a Real 

HOLLYWOOD 
DINNER 




Italian Salad 
suggested by Winnie Lightner 

Split Pea Soup Melba Toast 

a la Ruth Roland by Marion Nixon 

Spanish Chicken 
as prepared by Constance Bennett 

Asparagus with Crumbs 
June Collyer's recipe 

Biscuit Tortoni 
Buddy Rogers' "favorite nourishment" 



Forty-seven marvelous dishes, straight 
from your favorite stars ! And forty- 
seven interesting photos of the stars 
at home ! Send ten cents, plus three 
cents postage, for this Cook Book. 



FAVORITE 
RECIPES 
of. the t-lOVIE STARS 




\z Canadian 
Orders 

yk:| 15<? plus 

j postage 



TOWER BOOKS, Inc. 

55 Fifth Ave., New York, N. Y. 



Cook-Coo Gossip 

(Continued from page 33) 

Mister Hays is sometimes quaint — 
He wants life shown just as it 
aint. 

And all the stenographers wouldn't 
look like Garbo if they weren't all 
trying so hard to be distinctive. 

Did you know that Garbo had to 
move four times before the public dis- 
covered she was taking sun baths? 

And then there's the female fan 
who got punch-drunk from tvatch- 
ing Cagney and Gable pictures. 

SOOZIE, our dizzy stenog, requests 
that everybody stand up and sing: 
Listen, Mister Hays, to baby: 
Couldn't you arrange it, maybe, 
So an old-time hero-een, 
Fluffy, wide-eyed, sacchar-een, 
Could play opposite a he-gent 
Who means right by her — a Regent 
Of the Right — and not a villain 
Who is grimly bent on killin' 
Everybody in the cast, 
Saving the gal for the last? 
When I spend my hard-earned money 
I don't want to see a honey 
In a moompitcher being 
Frightened half to death by seeing 
Monsters on her trail. These horror 
Pitchers make me sore and sorer. . . . 
Take us back to nineteen-seven 
When movie plots were made in 
Heaven. 

Just the same, there's nothing 
sure but death and taxes and how 
a Gaynor-Farrell plot will turn out. 

SAMUEL MARX, father of the Four 
Marx Brothers, recently visited his 
sons in Hollywood. It was his seven- 
tieth birthday, so the Marx clan all 
went to Groucho's house for dinner. 
When they sat down they found a re- 
volver at each plate. 

"You see," explained Groucho, "this 
is the first family reunion in years and 
anything might happen— and usually 
does." 

LUPE VELEZ is reported to have re- 
J fused to see Gary Cooper when he 
tried to call on her in her dressing 
room. Her escort (at this moment) is 
Bert Taylor — who looks like Gary. 
And, strangely enough, Gary has been 
seen escorting Taylor's sister. It all 
sounds like a scenario — in which the 
author stops at nothing the first chance 
he gets. And just about as true, 
probably. 

SIMILE: 

Happy as a moompitcher actress 
with a new English accent. 

WHO CARES? DEPARTMENT 

Lupe Velez loans her clothes and 
jewels to chorus girls who are stepping 
out in a Big Way. 

Kelcey Allen wants them to change 
the title of "Alice Sit By the Fire" to 
"Alice Sit by the Firewater." 

Tallulah Bankhead was angered be- 
cause a pet shoppe proprietor couldn't 
get her a pet boa-constrictor. 

Jimmy Durante, hungry for ap- 
plause, sang songs for half an hour in 
Howard Dietz's office. "I don't care 
(Please turn to page 102) 




\' 



jLets 
dispose of this 
problem 

the quick easy way 




more than a million smart, 
busy women agree 

■ Time was when a woman was ready to meet 
the world after three major steps — bathing, 
"doing her hair," and putting on her clothes. 

But no longer. Today the big business of 
the toilet is composed of a dozen details — 
special attention to skin, hair, underarms, 
eyebrows, lips, finger-nails. All infinitely 
important. And all time-consuming. 

No wonder women welcome short cuts to 
these rites of the toilet! No wonder they 
welcome Mum as the quick, easy way to 
be free from hateful underarm odor. 

"Why," they ask, "make work of per- 
spiration odor? Let's dispose of it the 
quick, easy, the modern way." 

This is the very reason they choose Mum. 
It wastes no time for them. A quick finger- 
tipful to each underarm and that's all there 
is to it. No fuss, no waiting. 

They like Mum, too, because it is perfectly 
harmless to clothing. And it is soothing to 
sensitive skin even right after shaving! 

Mum doesn't interfere with natural per- 
spiration processes. 
It simply destroys un- 
pleasant body odors. 
It insures underarm 
protection as soap and 
water never can. 

You can get Mum at 
all toilet counters, 35c 
and 60c a jar. Mum 
Mfg. Co., Inc., 75 West 
St.. New York. N. Y. 

MUM 

TAKES THE ODOR OUT 
OF PERSPIRATION 

MUM SOLVES ANOTHER PROBLEM — Women 
find endless comfort and relief from an old 
worry in the deodorant service of Mum on 
sanitary napkins. It insures protection! 




The New Movie Magazine, July, 1932 



101 



COMBINATION HOT OIL 
TREATMENT AND SHAMPOO 





Nestle Permanent Wave, long bob, 
Hair treated with Combination 
Hot Oil Treatment and Shampoo. 

(f Her Hair 
Grows 
£ovelier 
Every Day 



ff 



Leading beauticians depend upon this 
Hot Oil Treatment to revitalize lifeless 
hair. It stops falling hair, removes dan- 
druff, cleanses the scalp and nourishes 
the hair to new vigor and beauty. It 
also makes the ideal shampoo, as it 
is free from soap or alkali. Everyone 
in the family should use it. 

Super Set 

The superb Nestle waving lotion for 
finger waves or water waves. It makes 
every wave more glamorous and longer 
lasting. SuperSet is greaseless and fast 
drying. There is no deposit or sediment. 
The SuperSet wave is the finest wave 
you ever had. 

Colo Rinse 

Use it after your next shampoo for the 
new tone color it will give your hair. 
It is neither a dye nor a bleach, but a 
harmless, vegetable compound. It gives 
the hair a natural, radiant loveliness and 
restores its youthful sheen and glamour. 
Two rinses in one package for 10c. 

Clie cKesile-£eJ1ur Co., CHew TJork City 



Small lizet at all 5c and 10c stores 
large size at your beauty parlor, 
drug ltore or department store. 



Cook-Coo Gossip 

{Continued from page 101) 

about money," said Durante; "it's the dames work for nothing because they 
tumult." think it is fun to flicker. 



Garbo says she'll never come back, 
but out at Metro studios they're betting 
she'll be on the lot again by September. 

Zasu Pitts asks $2500 for a single 
day's work — or three days for $3000. 

Jackie Cooper's personal appear- 
ances get him $7,000 a week in the 
East. Harlow's, $3,500. Esther Ralston's 
(with baby), $4,000. Nick Stuart's 
$2,000. 

Society women in England are mak- 
ing it tough for extras. The registered 



Tom Mix says the happiest days of 
his career were when he made $100 a 
week. 

Louise Hale putties up her ears to 
keep out noises. 

Ann Harding worked as a typist for 
$12.50 a week (Metropolitan Life In- 
surance Co.) and read books for Para- 
mount during spare time before she 
became an actress. 

Unless a picture points a moral 
Censors sulk and sometimes quarrel. 



"he Secrets of the Stars 



{Continued from page 18) 



and hair in his hands, do so without 
interfering with useless suggestions. 
There is nothing more exasperating 
than a man or woman who twists and 
turns and pulls the hair while the hair- 
dresser is working. 

I notice that Miss Goudal, even in 
these modern times, still wears her hair 
elaborately dressed. My motto has be- 
come, from experience, the simpler the 
coiffure, the more becoming and com- 
fortable. 

SO you remember the days when 
Gloria Swanson was one of the high- 
est-paid motion-picture stars? In that 
position she naturally required distinc- 
tive modes of hairdressing, and many 
a night I lay awake thinking up some 
new way of dressing her strong, brown, 
healthy hair. 

If you have a slightly angular face 
like Gloria's, my recommendation is to 
pull the hair away from the forehead, 
but bring it out low on the cheeks as 
a soft frame. Be sure to wear your 
hair in soft, numerous waves, and 
whenever possible with little curls at 
the back and sides to soften your fea- 
tures. 

There was a most awkward time 
when Gloria, having bobbed her hair, 
decided to let it grow. There came the 
period when it was neither short nor 
long — and most girls who are now in 
the throes of growing their hair will 
feel pangs of sympathy. We were at 
our wits' end to know how to treat the 
straggly lengths at the back and sides. 
We finally solved the problem by curl- 
ing up the ends with a curling iron 
one-quarter of an inch thick. 

Evidently the work I was doing 
pleased Gloria, for when she was sent 
on location for "Untamed Lady," she 
insisted upon having me go along. Miss 
Swanson is a wise young woman who 
even then knew the value of having 
her hair well cared for and distinctive- 
ly dressed. She had a clause in her 
contract which entitled her to the ser- 
vices of a hairdresser on location. 

There is nothing more drying on the 
hair than working out in the hot sun, 
and frequently I suggest the use of oil 
on the hair for such work. It is not 
a bad idea — with summer here, for 
both men and women to use a sparing 
amount of oil on the hair before sub- 
mitting it to the effects of the hot sun 
rays. 



MANY have written to the studio to 
ask about the slight wave in Tal- 
lulah Bankhead's hair, and whether it 
is the result of a permanent. The an- 
swer is "No." Miss Bankhead's hair 
is naturally wavy, soft, and easy to 
dress. She has a somewhat angular 
face, like Gloria's, and you will notice 
that in dressing her hair I managed to 
bring it out on her cheeks to make her 
face look fuller and softer. 

A peculiar fact about Miss Bankhead 
is that she must have music wherever 
she goes, and during our hairdressing 
sessions there was a continuous accom- 
paniment of music by Bing Crosby, 
Russ Columbo, and other crooners 
whose records were played on a port- 
able victrola. 

ONE woman who to this day wears 
her hair distinctively dressed, and 
who has enjoyed the services of some 
of the greatest hairdressers in Paris 
and America, is Lilyan Tashman. No 
wonder she always looks well-groomed ! 
A woman who spends so much time on 
her hair could not look otherwise. If 
you will notice, Lilyan wears her hair 
mostly away from her face and off her 
forehead completely. She rarely wears 
it down low on her cheeks. The reason 
is her small, pointed chin. By wearing 
a dark make-up for the screen, she ac- 
centuates also the blondness of her 
hair. 

Lilyan is always willing to try some- 
thing new in coiffures — and if you will 
remember, she set a new style by intro- 
ducing the stiff little curls at the very 
back of the cheek, that looked plastered 
down and entirely too circular. Only 
an extremist like Lilyan can afford to 
wear such a hairdress. Under no cir- 
cumstances should a home-girl or office 
worker appear publicly with her hair 
extremely dressed; it makes her look 
ridiculous. 

DID you know that a good way to get 
your hair clean is to dry-clean it 
with gasoline? It sounds ridiculous — 
but Bebe Daniels tried it and it worked. 
Bebe, a stickler for cleanliness, could 
not be happy when her hair got dirty 
during production. Since she wore an 
elaborate hairdress in those days, she 
didn't like to have to wash her hair 
and go through the process of curling 
it all over. She would send her chauf- 
feur across the street to a garage to 



102 



The New Movie Magazine, July, 1932 




Take your 
Waistline 
in hand! 

Bend it, twist it, sway with it 
following the exercise routines 
in "Reducing the Right Way," 
and watch your waistline grow 
slim and firm and young. It 
will, that is, if you couple exer- 
cise wisely with the correct diets. 

The menus which are planned 
for you in this beautifying little 
book let you eat enough, but 
never let you overeat, give you 
menus which keep up strength 
and keep off surplus weight. 

Don't wait one minute longer 
than now to dash off an order, 
tuck in a stamp, and when the 
book arrives start to work on 
vour waistline. It's worth it. 




lOt plus 3 cents postage. 
15i in Canada 



TOWER BOOKS 

Incorporated 

55 Fifth Ave., IVew York 



The Secrets of the 
Stars 

get a gallon of high grade gasoline. 

Since gasoline does not remove the 
waves as water does — in fact, it often 
increases the curliness of naturally 
wavy hair — Bebe would dry-clean her 
locks and be happy. What frightened 
me was her habit of hanging her hair 
over the window to dry in the sun — and 
lighting a cigarette to smoke. We all 
feared to be blown to bits any day. 

Bebe in those days had black, thick 
hair. The talkies made her a blonde, 
and I think it improved her appear- 
ance and made her look more youthful. 
A long time ago she added to her al- 
ready thick hair by wearing piles of 
coronets and braids of false hair. As 
a result, she usually had a headache 
and felt tired. I finally prevailed upon 
her to bob her hair. 

I believe that bobbed hair will con- 
tinue to be the prevailing style, though 
I do not believe that the extreme man- 
nish bob will return to favor. Too few 
girls could wear its extreme lines. 
Whenever I get the chance, I bob long 
hair. 

IS your face round like Nancy Car- 
roll's? Then perhaps you have the 
same fixation about never wearing your 
hair entirely away from your face. 
Nancy believes that because her face 
is broad, she must cover part of it with 
hair. In twenty tests that I made of 
Nancy for "Night Angel," the most at- 
tractive ones were those which showed 
her with her face entirely exposed. 
Aside from making meaningless sug- 
gestions, Nancy was frequently difficult 
to work with, so I could not always 
dress her hair to suit myself. 

If you are dissatisfied with your own 
hair, it might not be a bad idea to try 
wearing a transformation. When Esther 
Ralston came to the studio, I was sur- 
prised to see that the beautiful blonde 
hair I had so often admired on the 
screen was a wig. Her own hair was 
too uneven and broken off to look well 
on the screen. 

For every picture she had three wigs 
made — for such is the frailty of false 
blonde hair that the wigs faded under 
the strong lights and were useless for 
other films. Naturally blonde hair 
sometimes suffers this fate, too, and 
must be touched up and refreshed from 
picture to picture. 

Ruth Chatterton often wears a wig 
over her naturally wavy hair. 

ABOUT the only girl in the movies 
who never had her hair dressed 
before she came to me was Miriam Hop- 
kins. Her hair is naturally blonde and 
curly and is never touched up for films, 
although now she permits the hair- 
dresser to set it into smooth waves. 
The way she used to accomplish the 
curly effect was to crimp her hair with 
her hands while it was drying. She 
would never permit the use of a curling 
iron. 

Another blonde who is extremely fas- 
tidious about her hair is Ina Claire. 
Though Ina is one girl who trusts the 
hairdresser implicitly I had to originate 
a new hair comb for her to use on the 
screen, because certain features of her 
face are too prominent, while her chin 
recedes slightly. To make up for this 
I dress her rich blonde hair in a fluffy 
manner and arrange bangs for her 
(Please turn to page 104) 



I 



Unattractive 
Miss Jones 



married! 

Sallow . . . sour looking . . . the 
plainest girl in the office. And 
then she found an easy, pleasant 
way to end her indigestion. 

What a fine thing Dr. Beeman did 
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that aids digestion. Don't put up 
with those little digestive upsets 
that spoil your looks and your 
disposition. Chew Beeman's sev- 
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delightful. 

Especially made to 
aid diaestion 




CJteur 



BEEMAN'S 

PEPSEV G\JM. 



The Neiv Movie Magazine, July, 1932 



103 



o° c ° 






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The Secrets of the Stars 



(Continued from page 103) 



forehead. Oddly enough, instead of 
making her head look top-heavy, the 
bangs give her a youthful and plump- 
faced appearance. 

I am a great advocate of the use of 
bangs, though I do not believe in wear- 
ing them straight and thick as Colleen 
Moore or Louise Brooks did. Always 
have the hairdresser cut a few bangs 
of a length that may be curled down 
on the forehead or combed back all to- 
gether into the top hair. It will afford 
you two ways instead of one of wear- 
ing your hair. 

A word, too, about making the hair 
platinum. It is not a wise thing to do 
unless your hair is extremely blonde 
to begin with. Making the hair plati- 
num means bleaching it to death — and 
that is in many cases dangerous. 

I BELIEVE that men are vainer than 
women. Often I have spent as much 
time on a single mustache as in com- 
pletely dressing a lady's hair. Although 
many of the male stars don't care if 
their hair is waved or not — and refuse 
to have it marceled — there are lesser 



ones who want their marcels just so-so. 
And they have a fit if the waves aren't 
just right. 

Literally thousands of persons have 
written for advice on the care of hair. 
Following is the same advice I have 
given and practiced on some of the 
greatest movie stars: 

Since bobbed hair, women seem to 
have forgotten the importance of vigor- 
ous brushing. The best way to brush 
the hair is section by section, thereby 
giving every strand the benefit of the 
exhilarating effect received. Dyes that 
are too strong, permanent waves that 
have not been properly given, and mar- 
cels that have been given with over- 
heated irons are the bugaboos with 
which women have to contend. One of 
the first important cares of the hair is 
to be sure that it is thoroughly rinsed 
after shampooing. Two hot-water 
rinses and one cold-water rinse are in 
most cases sufficient. The average 
woman needs one shampoo a week. 

If a marcel or water - wave makes 
nightly brushing taboo, loosen the scalp 
with the finger-tips. 



I Was Never So Embarrassed 
In My Life 



(Continued from page 6) 



That is, it was until he got home, 
somewhere around midnight. As he 
took off his dinner-jacket, he happened 
to glance into a mirror over his shoul- 
der. His eye was caught by a large 
and resplendent patch of glistening 
white. He gasped and whirled around 
for a better look at his back. Was it 
imagination? It was not! It was his 
shirt-tail! In dressing so carefully, he 
had forgotten to shove his dress shirt 
far down into his trousers, and it had 
been hanging out all evening. And 
what a blow that was to love's young 
dream! Clark still gets cold shivers 
when he tells about it. 

THERE'S another story of love's 
young dream. It's about Joan Blon- 
dell and James Cagney. In the days 
before Jimmie was married. (All the 
new crop of young actors in Hollywood 
seem to be married.) He and Joan 
used to go places together. They gazed 
on each other in a big way. 

Well, it seems that Jimmie once had 
to go out of town, and when he came 
back Joan was down at the station to 
meet the train. The only trouble was 
that she didn't know which car he was 
on. So when the passengers began pil- 
ing out of the train, she was twisting 
her head around like a corkscrew, try- 
ing to watch all the cars at once. 

Suddenly, far down the tracks, she 
spied Jimmie's well-known back. Slip- 
ping quietly up behind him, while he 
waited for the porter to drag out his 
luggage, she gave a spring and jumped 
on his back — well, practically. Any- 
how, she hugged him tightly from be- 
hind, and clasped her hands over his 
eyes, giving him one of those "Guess 
who?" greetings. 

But as the words, "I give up," fell 
on her ears, she froze with horror. 



For — from behind her — she heard a 
voice that she knew well. Jimmie's! 
And he was asking, with the patient 
tone of a mother for an erring child, 
"Joan, what in the world are you do- 
ing to that man?" 

The gentleman on whom Joan had 
wasted so much enthusiasm was a per- 
fect stranger. Joan will never trust a 
back again. 

JOAN CRAWFORD, although in her 
pictures she plays the part of a 
modern maiden who knows how to take 
care of herself in any and all precari- 
ous situations, has had her troubles, 
too. And when we say troubles we 
mean troubles. 

Joan was driving on Beverly Boule- 
vard at a good fast clip one dark night 
a week or so ago, on her way home 
from work. The speedometer was 
climbing nicely. 

"Whee-ee!" It was a siren, but not 
the kind of siren that attracted Ulys- 
ses. A gruff voice rose above it. "Hey, 
youse! Pull over to the curb." 

Joan pulled over and, in turning the 
ignition switch to shut off her motor, 
happened also to cut off her lights. 
The traffic officer, who had meanwhile 
parked his motorcycle, strode along- 
side. 

"Say, where do you think you're go- 
ing so — ?" he started. Los Angeles 
cops think of themselves as being witty 
men. But Joan was ready for him. 
With her most alluring smile — al- 
though it was so dark that he could not 
see it — she began to out-talk him. 
"Now don't be like that," she pleaded 
coquettishly. "You're a nice police- 
man. You won't arrest me, will you? 
That big fat policeman that was on 
duty here last week, he gave me a 
ticket. But you're nice. You're not a 



104 



The New Movie Magazine, July, 1932 




VANGELINE 
ADAMS 

Offers FUN 
and Facts for 
THOUGHT 



In these twelve intensely in- 
teresting books, the world- 
famous astrologist gives hor- 
oscopes for every month, tells 
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every Zodiac sign. 

Here's plenty of fun for 
you and your friends, reading 
about each other's character- 
istics, interests, futures, as 
seen by the stars. And plenty 
of facts for more serious 
thought. Read the horoscope 
of your own birth month and 
see how many times you have 
to say, "That's me all over!" 





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I Was Never So 

Embarrassed In 

My Life 

big cheese like him ! — " 

The cop cleared his throat, and 
switched on his flashlight. "Oh, yes, I 
am!" he said, as the glow revealed the 
face of the big fat cheese. "I was on 
duty here last week. . . . It's sure a 
shame your headlights aren't on, lady. 
Just think, I'll have to put 'Driving 
Without Lights' on the ticket, along 
with 'Insulting An Officer.' " 

DOUG, Jr., the other half of the 
happy pair, knows what it is to 
have an embarrassing moment, too. 
Once when he and Joan made a trip 
to New York, he was greeted one eve- 
ning by a gentleman whom he recalled 
having met and whom he remembered 
as a writer, although for the life of 
him he couldn't think of the man's 
name. While they were chatting, Joan 
came up. "Dear," said Doug to Joan, 
"you remember Mr. Mm-mm-mm, of 
course. Remember, we read his book 
together?" 

When Doug was all through with his 
rhapsody, the stranger smiled pleas- 
antly. "I'm so glad you liked that 
book," he said. "Mr. Blank, who wrote 
it, would be delighted. My name is 
Carl Van Vechten." 

"He was perfectly swell about it," 
says Doug. "But imagine my em- 
barrassment when I found out later 
that he and this Mr. Blank hate each 
other so much that they'd like to sprin- 
kle ground glass in each other's beds." 

RICHARD CROMWELL, who showed 
■ so much promise in "Tol'able 
David" and who is appearing in two 
pictures now being released, has the 
sense of humor of a child of two. Go- 
ing to Henry's restaurant one evening 
with a girl friend, the two of them 
stopped at a nearby "gag" store. Rich- 
ard bought two sets of the most hor- 
rible-looking, snaggled teeth, and he 
and the girl slipped them on. 

Entering Henry's, they attracted all 
the attention they had expected — and 
more. Particularly when, sitting down, 
they nonchalantly removed the tusks 
and parked them in a glass of water! 

FINALLY, there is the famous 
Buddy Rogers-Mary Brian-Claire 
Windsor story. Shortly after Buddy 
came to Hollywood, he was running 
around with Claire. Something hap- 
pened, and he switched over to Mary 
Brian. One evening Buddy and Mary 
went to a party together. They de- 
scended from Buddy's car, and he 
turned to lock it. Mary stepped back 
to give him room. Where she stood, it 
was quite dark. 

Another car drove up to the scene 
of the battle, as parties are called in 
Hollywood, and one of the boys who 
climbed out of it recognized Buddy. 
He introduced the smiling Mr. Rogers 
to the others, and then turned to Mary, 
who was all but invisible in the shad- 
ow. "And this, ladies and gents," he 
bellowed, in the tone of a train an- 
nouncer, indicating Mary with his 
arm — "is the lovely Claire Windsor!" 

"I nearly died," Mary says, in telling 
it. "But I think Buddy died several 
times over and then turned in his grave 
like a whirling dervish!" 



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The New Movie Magazine, July, 1932 



105 





777,7* 



The Girl I Wanted 



{Continued from page 8) 



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Sometimes the rain soaked into my 
thin shoes. So I began to long for a 
new pair of shoes. I dreamed even of 
a fancy necktie and then a new suit! 
But I dared not confide those dreams 
to Syd. He would have said: "Save. 
Save for a rainy day while you are 
young." 

So I saved for a "rainy day." 

AFTER I had been saving for more 
than a year I first noticed a screen 
— a little like that one over there. It 
was in a second-hand store between 
some kitchen pots and a broken chair. 
But it was beautiful, that screen, and 
dignified its surroundings, shutting out 
the ugliness as a true screen will. 

I dared go in, ragged urchin that I 
was, to ask the price. The lame shop- 
keeper, a bit of second-hand himself, 
watched me sidewise and saw that I 
was eager. The sum he asked was al- 
most every sou I had saved! 

I would never dare face Syd if I 
spent all my money for that screen. 

Next night I passed the second-hand 
store again. The screen was lovelier 
than before. It and I became great 
friends. I loved it and wanted it, not 
so much for its beauty as for its re- 
pose. It gave out a feeling of home-like 
security. It took my loneliness from 
me, and I was very lonely then. 

"I'll buy it when the old man comes 
down to a reasonable price," I prom- 
ised myself, and save up a little more. 
Still I did not mention the screen to 
Syd. 

I began to look into other second- 
hand shops. I made friends with an 
old but brightly colored rug that would 
match the screen beautifully. I made 
little plans while I walked home how 
I would some day furnish the room 
we lived in so that it would be brighter 
and, with the screen in one corner, not 
so lonely. 

I found a chair that was very cheap 
to match the rug and the screen. Now 
I added to my dream. I put a girl 
in the chair on the rug by the screen. 
She was a pretty girl, of course, and 
smiling and gay. Sometimes, some 
nights, I frowned over this girl. When 
I had saved enough for the screen and 
the rug and chair and girl, where 
would I find the girl? How does one 
get to know a girl if you can't take 
her out places, and spend sous on her, 
and have a place to take her that be- 
longs to you? 



M 



ORE than one time I almost 
stopped a girl and asked her to 




be my girl. But I didn't dare. 

One night I counted my sous and 
francs. They made up what would be 
almost one hundred dollars. I had 
saved for two years. "Wouldn't it be 
nice," I suggested to Syd, "to spend 
some of it? I know of a rug and a 
chair and even a pretty screen, that 
would make our room warm and com- 
fortable. And we could have a girl — 
I mean, people! — come in once in a 
while for a bottle of wine." 

Syd shook his head. 

"But surely," I pleaded, "we can 
have the screen anyway, and just one 
blow-out." 

"It's your money," said Syd, "and 
you can do as you please. But I am 
against it. You should put your sav- 
ings in the post office and get interest. 
If you keep it here you may lose it all. 
Or if you have a blow-out and buy a 
screen, it also will be gone. Two years' 
work for nothing." 

Next morning I gave up all thought 
of the screen and the rug and chair, 
and the girl. It was like giving up 
everything I had in the world. All I 
had left was the little blue slip they 
gave me at the post office in return for 
my savings. 

"Now you are sensible," Syd said. 
"Wait till you are older for the blow- 
out." 

THAT very same week I got my 
offer to come to America with a 
vaudeville company. Two weeks later 
I left Havre for the United States. 
My salary was three times what I had 
been earning in Paris. Syd came with 
me. 

I remembered the screen for a long 
time. I have never forgotten it. The 
little blue slip from the post office I 
lost. My hundred dollars didn't mat- 
ter. It was the screen I remembered. 
Some day I would take that hundred 
dollars and add to it and have a screen 
— and a blow-out! 

But I had waited. I waited too long. 

The hundred dollars soon didn't 
amount to anything. I had many thou- 
sands. 

The screen? Why, I could buy the 
most beautiful screens in the world 
now. And I bought the loveliest one I 
could find. It cost many hundreds. 

But the screen doesn't count now. I 
don't want it. 

And I don't want the first hundred 
dollars I saved. I never want to see it. 
It doesn't amount to anything. 

It still is in the post office savings 
vault in Paris. 



You might think that 
this is a scene from a 
picture starring Eddie 
Lowe and Lil Tashman. 
But it isn't, it's just the 
way husband Eddie 
greeted Lil on her ar- 
rival in Hollywood 
from an extended per- 
sonal appearance tour. 



106 



The New Movie Magazine, July, 1932 




DuY THESE 
STORIES for YOUR 
BOYS AND GIRLS 



ABOUT the prankish Brownie! About 
l the Ugly Duckling who was really 
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and children who like to be read to. 
These three jolly little books are printed 
in large, clear type and filled with amus- 
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price is only ten 
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cents postage for 
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Hollywood Goes 
A- Partying 

(Continued from page 69) 



Norma Shearer started the craze at 
the Mayfair last winter by wearing a 
lei of orchids. Those worn by two or 
three girls at the Thalians were of 
artificial red carnations. 

WS. VAN DYKE, the director, 
• who is about to go once more 
into the wilds to make a picture, seems 
to be partying while the partying is 
good. 

Don Dillaway was there, and we 
looked for Dorothy Jordan. But poor 
little Dorothy was ill in a Santa Bar- 
bara sanitarium, and Don had brought 
Lenore Bushman, daughter of Francis 
X. Bushman. 

Claudette Colbert is considered one 
of the best-dressed women in Holly- 
wood, so we craned our necks to see 
what she was wearing. Of course, we 
knew she would be with — her husband, 
naturally — Norman Foster. She looked 
even more chic than usual in a gray 
crepe roma, very tight-fitting, but with 
a Greek drape effect over the shoulders, 
draped over the front and back of the 
left shoulder, brought around to the 
right and hanging down in the back. 
She wore a double belt of red and gray 
with rhinestone buckles, and she wore 
red sandals. 

Sandals, by the way, were worn with 
many of the smartest clothes. 

Rivaling her in loveliness was 
Thelma Todd, in a tight-fitting gown 
of Alencon lace over a flesh-colored 
slip with a wide bow of lipstick red in 
the back, flat against the gown. She 
said she positively had to take extra 
courage to don the wrap that went with 
it— a lipstick-red velvet affair, two- 
thirds length. She was with Schuyler 
Van Rensselaer of New York. 

Laura LaPlante, in a white wool lace 
dress, long and tight, was looking 
charming, even though white isn't es- 
pecially a blonde's color. 

Mr. and Mrs. Pat O'Brien were 
among the guests, Mrs. O'Brien looking 
well in morning-dew rose-colored silk. 

Dancing on the floor, I saw Roberta 
Gale in black velvet, with an odd but 
chic effect in hats — a veiled affair of 
black soft maline. 

Jack Quartaro went over to dance 
with pretty Florence Lake, resplendent 
in white crepe trimmed with silver 
beads and wearing red sandals. 

We caught a glimpse of Barbara 
Weeks, too, in spring-morning-blue 
satin, tight, with short military cape, 
the whole plain but effective. 

Polly Walters was there, dancing 
with everybody in turn, and flirting 
with others while she danced. She 
looked wonderful with a long bob and 
clad in pale-blue silk. And Rochelle 
Hudson was charming in tangerine- 
colored satin, cut in diagonal lines, with 
brown sandals, and a belt of rhine- 
stones, with large cross-bow in the back 
of tangerine-and-orange satin. 

Tea at the Robinsons' 

THE Sunday tea hour is being im- 
ported to Hollywood!" exclaimed 
Jeanette MacDonald, gazing around 
the drawing-room of Edward G. Robin- 
son's apartment, where his brilliant 
wife, Gladys Lloyd, was presiding as 
(Please turn to page 108) 



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ey always 



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the Girls with 

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The New Movie Magazine, July, 1932 



107 



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108 






Hollywood Goes A-Partying 



(Continued from page 107) 



hostess, aided by her rather diffident 
husband. 

Jeanette had arrived with her fiance, 
Robert Ritchie. She wore a blue sport 
suit with Eton jacket and white silk 
tailored blouse, very smart, and a little 
blue hat with an Empress Eugenie twist 
to its sporting lines, all very fetching. 
Of course, despite the fiance, Jeanette 
soon had a crowd of swains about her. 

Harold Lloyd and his wife were 
there, and Benn Levy, author of 
"Springtime for Henry," and soon Har- 
old and Benn were off in a corner dis- 
cussing comedy. Mildred Lloyd was 
wearing a black satin afternoon gown 
of severe lines, which became her 
greatly. 

She told us that they were hoping to 
go to Europe soon, but that they meant 
to take all three children with them, 
especially since the kidnaping atroci- 
ties. She told us that Ann Harding's 
little girl never was permitted even in 
the garden without an armed guard 
since the threats to kidnap the little 
girl reached Ann. 

Lillian Bond had arrived with Benn 
Levy. She looked sweet in a blue after- 
noon dress . . . said she had been horse- 
back riding all morning and was tired, 
though she didn't look it. 

Mr. and Mrs. John P. Medbury were 
there, and Mr. and Mrs. Sam Godfrey, 
Jerry Gose, well-known violinist; Mr. 
and Mrs. Warren William, Frances 
Starr, Mr. and Mrs. Joseph Cawthorn, 
Jackie Saunders, Kenneth Macgowan, 
Mr. and Mrs. Kenneth Thomson, Mr. 
and Mrs. William K. Howard, Virginia 
Hammond and others. 

Janet Gaynor came in a little late 
with her husband, Lydell Peck. I have 
never seen her looking so radiant. She 
wore a green fancy silk sport suit with 
a little green cloche hat to match. 

Janet said she still had her little 
house near Honolulu, and that she was 
thrilled because she had just heard that 
the palms she had planted there with 
her own hands were growing nicely. 
But her husband kissed her, saying it 
was a tropical place and nothing could 
help growing. 

Miriam Hopkins came in quite late. 
She was wearing a sweater and skirt, 
but declared she was all dressed up. 

"At home in Santa Monica I go about 
dressed in knickers, sneakers and an 
old sweater," she said. 

And then there was a grand diver- 
sion: Benn Levy sat down on a piece of 
ice-cream cake. He was covered with 
confusion and goo when our hostess led 
him away to let the butler sponge him 
off. And that confusion continued, so 
that when he returned to us he prompt- 
ly sat down on another piece! 

"That's a relief to me," remarked 
Vivienne Osbourne. "He is so infer- 
nally clever, it is a comfort to find that 
he can do human things like that." 

The Gleason Picnic 

"PICNICS may be old-fashioned, but 
-T then it's the day of antiques — and 
we all retain the taste for picnics from 
our Sunday school days. Or if we had 
no Sunday school days, then from our 
kindergarten times," observed Ken 
Maynard aj I drove with him and Mrs. 
Maynard out to the Gleason ranch in 
San Fernando Valley, which, though it 



is right out in the country, is only 
twenty miles from Hollywood. 

Mrs. Gleason had cooked the spa- 
ghetti herself, but had to admit that 
the cake had come from the Woman's 
Exchange in Hollywood. 

We found Walter Byron there, and 
Lillian Bond, Ruth Weston, Donald 
Cook — but without his Evalyn Knapp, 
who had had to work that day — Eva- 
lyn's clever brother, Orville, lately 
from the New York stage; Mary 
Forbes, Mr. and Mrs. Neil Hamilton, 
Dorothy Dix and others. 

Back at the corral we found James 
Gleason, Russell Gleason, Dorothy Dis 
and Walter Byron riding Jim's beauti- 
ful polo ponies. He has seventeen oi 
them in all. Several were shooed out 
of the corral as unnecessary, but a 
white one, a beauty, came back and 
hung his neck dejectedly over the fence, 
gazing on the proceedings mournfully 
as his companions trotted about. 

Jim is a beautiful rider, and the 
others were doing themselves justice, 
too. 

Walter Byron said he would love to 
stay out there forever. 

"Oh, why wasn't I born a monk?" he 
said. "Well, you know," he went on 
comically, "I really was, but I changed 
later." 

Jim Gleason was splendid in an or- 
nate cowboy hat, carved leather boots 
with spurs, and a white silk shirt, but 
his overalls brought one back to earth. 

"Oh, I just put all the money into 
the hat, shirt and boots — none left for 
the trousers," he explained with a grin. 

Russell Gleason owns only one polo 
pony, but Mrs. Gleason said he wanted 
a string, so he called the one G-String! 

Well, it was a swell picnic. 

A Party for a Dog 

"T'M giving a party," said the genial 
1 Edgar Allan Woolf over the tele- 
phone. 

"What for?" we inquired. 

"Well — er — well, I guess for my 
dog!" he chuckled. "That's a good rea- 
son, isn't it?" 

"I haven't met your dog," I retorted, 
"but I'm sure he must be nice. What 
kind of a dog is he?" 

"Well, I call him a garbage-can 
pointer. As a matter of fact, he's a 
mutt!" said Edgar Allan. 

We found most of the party in the 
patio, but the guest of honor, with a 
large bow of blue ribbon on his neck, 
did look so miserable! In fact, he had 
to be led away. 

Our host had turned the patio into 
a peach orchard. He had brought 
boughs of peach blossoms and placed 
them about, and, with the artificial 
moonlight from the arcs, the place was 
glamorously lovely. We dined there. 

An orchestra played for the guests 
to dance, and three of the supposed 
butlers turned into professional 
dancers! We told Edgar Allan we 
thought he was saving money on us. 

Estelle Taylor was lovely in black 
velvet with a train; and there were 
Grace LaRue and Hale Hamilton, Mr. 
and Mrs. Hunt Stromberg, Mr. and 
Mrs. Louis B. Mayer, Mr. and Mrs. 
Mike Levee, Laura Hope Crews, Mr. 
and Mrs. Edmund Goulding, Chico 
Marx and his wife, Theda Bara and 



The Neiv Movie Magazine, July, 1932 



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Charles Brabin, Ernst Lubitsch, Mr. 
and Mrs. Harry Beaumont, Genevieve 
Tobin, Ramon Novarro, Jeanette Mac- 
Donald and Robert Ritchie, Martha 
Sleeper and many others. 

Genevieve Tobin was especially 
pretty in white lace, and everybody was 
seeking her as a partner in the dances. 

We chatted with Estelle Taylor in 
a corner, and she told us how, when 
she was a kid, she used to steal flowers 
out of people's gardens, and then sell 
them — sometimes to the same people. 

"Anything to get a quarter to go to 
a movie," she said. "You see, grand- 
mother was awfully religious, and 
wouldn't let us go." 

It was nearly sunup when we finally 
took our departure, and I do believe 
that some of the guests stayed for 
breakfast. 

NO, children, the Dominos do not 
play dominos! At least dominos 
are not compulsory. The word refers 
to the garment worn at masquerade 
parties, and the Hollywood Dominos is 
the western branch, one might say — 
although it is beginning to look like 
the parent tree — of the famous Twelfth 
Night Club, stage femininity's social 
organization in New York. 

And such a lovely array of Dominos 
as gave a party at the Cocoanut Grove 
at the Ambassador! Never had the 
thirstless palms and the synthetic 
stars looked prettier, and the tables 
were graced by domino dolls as Pier- 
rettes and Pierrots. 

I was the guest of Mrs. Joe Caw- 
thorn, who was lovely in an ice-blue 
lace gown. 

The Cocoanut Grove was crowded 
with Dominos, their husbands, sweet- 
hearts, and an occasional son and 
brother, together with the crowd from 
the outside who had come to look at the 
movie stars. 

Edward G. Robinson and his wife 
entertained Janet Gaynor and Lydell 
Peck, Tay Garnett and others. And 
others with parties were Jeanette Mac- 
Donald, Mrs. Cecil DeMille, Mrs. Ed- 
mund Breese, Mrs. Joe E. Brown, Mrs. 
Frank Lloyd, Alice Mills Davey, Mrs. 
Frank Dazey, Louise Dresser, Minna 
Gombell, Una Merkel, Lina Basquette 
and Charlotte Greenwood. 

Usually such a big gathering is just 
plain, decorously dull or else too gay. 
This one seemed just right. 

The entertainment was brilliant. 
Dorothy Lee and Bert Wheeler were 
amusing in their theme song from 
"Girl Crazy"— "You've Got That Some- 
thing" — and then Bert danced alone to 
applause from the crowd, after which 
Joe Cawthorn came forth and did a 
buck-and-wing dance. Adele Rowland 
sang beautifully; Lina Basquette was 
most alluring in her rumba dance, and 
all the rest was equally good. 

Claire Windsor came in late, after 
her Al Jolson show at the Biltmore. 
She is wearing a new long bob that is 
very becoming. 

Louise Dresser was naively looking 
for Janet Gaynor to get her autograph, 
saying anxiously she hoped she could 
get it! 

The real sunlight was stealing 
through the windows, to shame the 
made-to-order stars in the ceiling, as 
we said our regretful farewells. 




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Chatterton, the Charmer 



(Continued from page 111) 



purring simultaneously said to me: 
"My dear, you should see Ruth Chat- 
terton in 'Tomorrow and Tomorrow.' In 
some of the scenes she looks like a girl 
of twenty-two. She must have a won- 
derful camera man." 

I tee-d up my war bonnet and said: 
"My dear, you should see Ruth Chat- 
terton in my patio, covered in olive oil 
and no cameras grinding. She looks 
about twenty — but what has that got 
to do with acting?" 

No one inquired about the school- 
girl complexion of Duse. No one cared 
if the Divine Sarah's face looked like a 
manuscript, and she had only one limb. 
I bow low to the camera. It is wonder- 
ful, terribly wonderful. It can erase 
lines, dissipation and even personality, 
but until they start "shooting" stars 
with x-ray or fluoroscope, the camera 



cannot make people act. It's an inside 
job! 

And so we shall see. Ruth has a lot 
of competition. Several new and po- 
tential queens are snatching at her 
crown, but they will have to grab lower 
and get a strangle hold, for competition 
is what real troupers thrive on. 

My money, if I could save some of it, 
would be on La Chatterton. I still won't 
admit she is the "first lady of the 
screen," because I gave up trying to 
judge when a lady is a lady at the same 
time I learned that you can't tell a gen- 
tleman from the way his trousers hang 
or where. 

If any one wants to substitute the 
word actress for lady, I will say, Here ! 
Here!— or There! There! In other 
words, I will step out of my character 
and not argue. 



Chatterton, the Fighter 



{Continued from page 41) 



hill. As if troubled in her mind for a 
second in full realization of the fight 
ahead, she said, very tensely: "Jim 
. . . I'm going to make it. All — (may- 
be it was heaven) cannot stop me." 

As there was no hill in front of us, 
I knew that she meant positively and 
forever that she was going to succeed 
in Hollywood. 

We had discussed films in which 
women as big leaguers were through 
in their middle twenties, and were 
either on the lookout for security or 
alimony. For a woman to set out to 
destroy a movie tradition was one 
thing. To convince producers that 
such a precedent could be destroyed by 
ability and character alone was quite 
another. 

The night before she had attended a 
dinner, and had there heard a young 
woman once famous in films referred 
to as a "has-been" and fit only for "the 
Old Ladies' home." And Ruth Chat- 
terton was five years older. 

OFTEN overlooked in Hollywood, 
the art of "make-up" is long and 
difficult. It is based on correct and 
untiring observation. For fourteen 
years Ruth Chatterton had devoted her 
energies to the theatre. She now be- 
gan an endless round of the cinemas. 
Her little mongrel car could be seen 
parked outside obscure suburban pic- 
ture houses, while its jaunty mistress 
was inside observing the mannerisms 
and the technique of those who were 
soon to be her rivals, and shortly to be 
surpassed. And also she learned that 
many screen women knew little about 
make-up. 

I had observed such a case years be- 
fore in my one-time comrade in ring- 
craft, Johnny Kilbane. 

In an Ohio town a lad was fighting, 
who was certain, in the course of ring 
events, to be his antagonist in the ring. 
Kilbane came down from Cleveland, 
alone, and observed the proceedings. 
When I greeted him he said, "Don't let 
on that I'm here, Jim — I'm just getting 
an eye-full." Within a year Kilbane 
had beaten the fighter whose technique 
he had studied so minutely. Winning 
this fight paved his way for the 
featherweight championship, which he 
held eleven years. 



Ruth Chatterton then, and ever since, 
has reminded me of Johnny Kilbane. 
A magnificent intuitive technician, she 
has the same tigerish suppleness of 
body, and a will like a flame that burns 
its way to success. 

fJ ER early life was not without 
-«--»• struggle. When she was still a 
young girl her family rode the high 
waves. She attended an exclusive 
girls' school in Pelham Manor. 

Poverty came suddenly, and as al- 
ways, sadly. Ruth, at fourteen, her 
whole world in collapse, went out to 
earn a living. Her mother did like- 
wise. 

No one in Ruth's family had ever fol- 
lowed the theatre for a living. By 
some impulse she began making the 
rounds of the booking agencies in New 
York. There was seventy dollars be- 
tween Ruth and her mother. 

Of this amount, the mother put out 
ten dollars each week. Five dollars 
went for rent, the remainder for other 
necessities of life, including twenty 
cents each day for Ruth's carfare. 
On Saturday night, in a spirit of car- 
nival, mother and daughter treated 
themselves to a chocolate eclair. 

They both admit playfully to each 
other now, that once, and once only, 
they "held out" on each other. The 
mother, thinking it was Saturday night 
— and who would doubt a mother? 
when it was only Friday, bought her- 
self a chocolate eclair. 

Then, aghast at her crime, Mrs. 
Chatterton wondered how she would 
face "Mike." 

Ruth's father named her Ruth, as he 
wished to avoid the possibility of fu- 
ture nicknames. He succeeded for 
four years. The children in the 
neighborhood found a way around his 
shrewd intent, and promptly called her 
Mike. On Sundays they changed it to 
Michael. 

Mrs. Chatterton greeted her daugh- 
ter that evening- with, "Well, Mike." 
The future actress waited, feeling an 
accusation in the way her mother ad- 
dressed her. For Ruth, tempted be- 
yond her strength, as she laughingly 
terms it today, had also spent part of 
her carfare for a chocolate eclair, and 



112 



The Netv Movie Magazine, July, 1932 



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Chatterton, the 
Fighter 

had paid the price of her weakness by 
walking- home. 

Mrs. Chatterton still looked at her 
daughter and said the words over 
again, "Well, Mike — I have a confes- 
sion to make. I bought a chocolate 
eclair tonight." 

The mother was bewildered when 
Ruth clapped her hands and exclaimed, 
"Oh, I'm so glad, Mother — we're both 
sinners. I did, too." 

THERE are episodes in each life, 
without which a human being 
might be completely different. With- 
out this lodging-house experience at 
her most impressionable age, it is not 
likely that Ruth Chatterton would have 
ever become more than a talented 
player of shallow society roles. 

To have early heard the earth 
rumble with its load of grief may not 
always be a blessing. In all the long 
history of the theater, however, there 
has seldom, if ever, been a great actress 
who in her girlhood had not been ac- 
quainted with misery. An actress can 
be no greater than her capacity for 
remembered sorrow. If she lacks that, 
in the deeper sense of the word, she 
lacks all. 

The little queens of cinema make- 
believe, who are now rapidly being for- 
gotten, are evidence of what I mean. 
They brought dimples and curls and 
untouched hearts to the screen, and as 
a result they are sliding back with 
soiled rompers into the oblivion from 
whence they came. 

BEFORE the seventh week was up, 
Ruth had been given work in a 
stock company. This company contained 
four people who were later to become 
famous. Ruth Chatterton made the 
fifth. Lowell Sherman was the leading 
man. Pauline Lord played second 
lead. Lenore Ulric played small 
parts. Helen Hayes played child roles. 

After twenty weeks with this com- 
pany, she appeared in two plays, with 
indifferent success. 

Her luck changed. 

Gilbert Miller was casting for "The 
Rainbow." He was on the lookout for 
a good-looking girl who could sing, and 
play the piano well, and speak French 
fluently. He would evidently have had 
a no more difficult time on Broadway 
had he been looking for an angel with 
an Irish harp. When about to give up 
in despair and wire his father, Henry 
Miller, in London, to send a girl from 
there, Ruth Chatterton walked into his 
office. 

As an old-time actor told me, "She 
hit him right on the nose." He meant, 
of course, that she impressed him at 
once. 

She got the job. The critics declared 
her a hit along with the play. "What 
did you do then?" I asked her. 

She held a hand up to invoke silence 
and awe. 

"I bought a pair of stockings that 
were silk all the way up. And I got 
my mother a pair also. Then we went 
to the little drug store near where we 
used to live and got two chocolate 
eclairs apiece." A wistful expression 
came to her animated eyes. "I think 
that was mother's happiest moment." 

Her next play was the well-known 
"Daddy Long Legs." Failure seemed to 
(Please turn to page 114) 








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The New Movie Magazine, July, 1932 



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Chatterton, the Fighter 



{Continued from page 113) 



brood over this play. The producer 
strongly considered closing it. Those 
in the cast were looking for new parts. 
It opened in New York and was a sen- 
sation. 

A short time after this she refused 
$300,000 to make six films. The com- 
pany making the offer would not allow 
her to select her own stories. Her 
present salary is more than $350,000 
per year. While she has not exactly 
the right to select her own stories, she 
has nearly its equivalent — that of ve- 
toing any story of which she does not 
approve. 

IT has been said in Hollywood that 
but for the intervention of Emil 
Jannings, all her well-laid plans might 
have gone awry. She was given a film 
test to appear opposite Jannings in 
"The Sins of the Fathers." The di- 
rector, Joe Stern, who later as Josef 
Von Sternberg was to bring Marlene 
Dietrich all the way from Berlin, did 
not approve of her. The situation, and 
Ruth Chatterton's career, was saved 
when Jannings saw the test and re- 
quested that Miss Chatterton, whom 
at that time he had never seen in per- 
son, be allowed to play opposite him. 
When the film was completed Miss 
Chatterton asked Jannings if she might 
not be allowed to play the lead in his 
next film. Jannings' reply was pro- 
phetic. "I cannot let you." He paused 
for a second. "Because you'll never 
have to play the lead in any other pic- 
ture." She never did. 

A DIRECTLY honest and straight- 
forward woman with first-rate 
perceptions and intelligence, she has 
long been considered hig'hbrow in the 
superficial circles around her. 

Warm-hearted and eager for life, she 
is a fair stand-up fighter when she dis- 
agrees, and loyal as money to a friend. 

"His eyes," was the quick reply. 

Few women are so deeply interested 
in two subjects — their own work, and 
the woes of others. Her mind, a blend- 
ing of the masculine and feminine, is 
tireless. She wears her opinions like 
a lady, but she surely wears them. 
Never churlish, and always gracious, 
it might be said she lives for her work 
- — and people. 

Her mother is still with her. And 
so are many early friends. 

SHE finds time somehow to be kind 
to the friends of others. 

I have a friend who is still a vaga- 
bond. In earlier and happier days I 
tramped to the world's far places with 
him. 

He called at my house unexpectedly, 
with a broken pocket comb, no hat, and 
a hunger that had long endured. 

I was just backing out of the drive- 
way for Ruth Chatterton's home. 
"Would you like to go to Ruth Chat- 
terton's house?" I asked. 



"Brother Hobo," he said, "show me 
the way." 

Never did a more tattered individual 
enter the sanctum of a star. 

Ruth entered into the mood of the 
occasion. I had never seen her super- 
ior to the moment. 

My rapscallion friend was given 
food and drink. He became loquacious. 
Ruth listened attentively and with ut- 
most courtesy. 

When we left, she said to him, 
"Come again." 

"Thank you," returned my friend, 
who remained silent for some miles on 
the way home. "Do you know, Jim, / 
think she meant that." 

"Sure she meant it. That's why she 
said it. She talks our language." 

And everybody else's — she's genu- 
ine," said my friend, reaching for his 
broken pocket comb. Then he snapped, 
"Who the hell ever said she was high- 
brow?" 

"Some lowbrow," I answered. 

MONTHS later I met Ruth in Los 
Angeles. "How's your friend, 
Jim? Give him my regards." 

"He's been ill." 

She took my arm. 

"Let's go to see him." 

When we drew up to the small hotel 
in a limousine larger than a ham 
actor's estimate of himself, Ruth car- 
ried in her arms a large bouquet of 
roses. 

My vagabond friend saw the girl and 
the roses. Soon he could not see for 
tears. She made the drab room radi- 
ant. When she sought the landlady to 
obtain a vase in which to put the roses, 
my vagabond friend turned to me and 
said, "She's real people." 

We remained an hour with my 
wandering comrade of other days. 

When I called upon him the next 
day he told me how his landlady had 
entered the room after we had gone, 
"with a little note from Miss Chatter- 
ton." It was a fifty-dollar bill. 

Of this I have long been certain : 
Ruth Chatterton has another vagabond 
friend in some far part of the world. 

There came a period when I went 
through deep distress. It seemed as 
though my world would slip away. 
Ruth Chatterton ordered a direct tele- 
phone line open to her bedside. And 
once she came in the early hours of the 
morning. 

Long after, when what I thought 
was pain had turned to humor, she 
again asked about my friend, who was 
then in China. "He has the right so- 
lution," she said. "He travels so fast 
that nothing can hurt him." 

"You like him." 

"Yes," she answered. "He's genu- 
ine." 

"Strange . . . that's what he said 
about you." 

"The arch flatterer," she smiled. 

But her heart was touched. 






114 



The Neiv Movie Magazine, July, 1932 




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Radio Rambles 

(Continued from page 61) 



Sketches, has changed its name to 
Snow Village. . . . Ethel Merman and 
Harriet Lee started their working 
careers as stenographers. 

Kitchen helps: Tony Wons likes his 
wife's potato pancakes best. He 
taught her how to make them. He also 
showed her a new way of peeling pota- 
toes on the open road which you might 
try some day when you haven't a 
knife handy — punch holes in the top of 
a tin can and grate the peels off with 
that. 

Childhood troubles: Radio artists, 
just like the rest of us, had to fight 
parental objections when it came ■ to 
choosing their life work. 

Ben Bernie's blacksmith father 
wanted him to become an engineer. 
His mother wanted him to be a violin 
virtuoso. Becoming an old maestro was 
his own idea. 

Lawrence Tibbett's family wanted 
him to succeed his father as sheriff of 
Kern County, California. However, 
they changed their minds without argu- 
ment when Tibbett, Sr., was killed in a 
gun fight with a bandit. 

Rubinoff's father used to tell his boy 
he was wasting his time practising on a 
balalaika instead of learning how to be 
a baker like him. But his mother 
thought that making music was more 
beautiful than baking bread, so little 
Gustave became a violinist on a 3% 
pre-war rouble ($1.75) fiddle that she 
bought him. 

Let's peek into the studios: There 
are George Burns and Gracie Allen 
broadcasting from behind a screen so 
the laughter of the Lombardos won't 
disturb them. . . . Gracie: My father 
lost between ninety-eight and a hun- 
dred dollars on the horses. George: 
That's a lot of money. Gracie: No. 
Only two dollars. . . . Now Guy's 
boys are playing, and Gracie eats a 
sandwich. She has no time for dinner 
because she must make a dash for a 
theater appearance right after this 
number. . . . Look! Over in that big 
room. Sam Lanin and his orchestra 
all dressed up in tuxedos. Their 
sponsor makes them do that. . . . 
Out on the road somewhere are Rudy 
Vallee and Irene Bordoni. She stands 
beside him only five feet one inch. Just 
as tall as her countryman Napoleon. 
. . . Here in this little room is Singin' 
Sam sitting nonchalantly, as if only 
chatting with the mike, his hand cup- 
ping his ear to hear himself sing. . . . 
And over in that corner studio, Howard 
Petrie, six feet and 190 pounds, is an- 
nouncing the Sisters of the Skillet. But 
he isn't a big man in this room, not 
with the Sisters' jovial 500-pound com- 
bination on the piano bench. 

The little wife at work: If anyone 
should ask Mrs. B. A. Rolfe quickly 
what she is doing in Europe these 
warm days, she would probably reply 
without taking time out to think, "I'm 
on a rest cure." 

And then in the very next couple of 
breaths she would tell about some swell 
musical tricks she has heard orchestras 
abroad execute, such as a "hot" finish 
or a flute motif in dance music. 

By now you have probably guessed 
that Mrs. B. A. is at least half of the 
(Please turn to page 117) 




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The Netv Movie Magazine, July, 1932 



115 




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News and Pictures of Forthcoming Films 

(Continued from page 67) 

Editor's Note: You have probably noticed that this month, instead of the 
usual review department, we have given you the fresh, up-to-the-minute news 
and pictures of the forthcoming films. We hope you'll like the change. We 
considered two things in making it. One was that criticisms represent the 
opinions of one person — or a small group of persons — and cannot be consid- 
ered a fair and accurate guide for hundreds of thousands of readers to go by. 
The second reason we changed was that the review system is outdated. Under 
existing conditions the films are rushed through so quickly and distributed over 
the world by airplane so speedily that they are frequently exhibited to you 
before we can publish an accurate review. And criticisms written of Hollywood 
previews, while the picture is still being taken, cut and edited, are not fair to 
you or to the producers. 



Faith — Columbia: Walter 
Huston as the trusting 
bank president in a drama 
of financial and domestic 
struggle. With Pat O'Brien, 
Gavin Gordon and Robert 
Ellis also in the cast, and 
Constance Cummings and 
Kay Johnson playing op- 
posite the star. With this 
cast and a director with a 
long list of successes, this 
should be a worthwhile 
picture. Directed by Frank 
Capra. 



The Dark Horse — War- 
ners-First National: War- 
ren William as the master- 
salesman, magnetic, reck- 
less, happy-go-lucky, al- 
ways in financial and do- 
mestic jams, elects a gov- 
ernor who is one hundred 
per cent, dumbell. And 
the fun begins — what with 
William's troubles with his 
ex-wife (Vivienne Osborne), 
his secretary (Bette Davis) 
and His Governorship 
(Guy Kibbe). Directed by 
Alfred E. Green. 



The Killer — Fox: A roar- 
ing Western from the 
Stewart Edward White 
novel, with chases, fights, 
George O'Brien as an Ari- 
zona Ranger, Cecilia Par- 
ker as the girl, and Charles 
Middleton, Forester Har- 
vey and Betty Francisco 
contributing. Plenty of 
blood and thunder, thrills 
and sensational dashes of 
the star to the rescue. Di- 
rected by David Howard. 



(Please turn to 
page 118) 




116 



The Neio Movie Magazine, July, 1932 



Radio Rambles 

(Continued from page 115) 

rotund maestro's business firm. She it 
is who does the worrying over the myr- 
iad details that can make or mar a 
program, and it is this same young 
woman who engages the men who com- 
prise B. A.'s incomparable recruits. If 
she doesn't think a candidate comes up 
to scratch musically, he hasn't a 
Chinaman's chance of finding a place in 
her husband's band. 

But since Mrs. Rolfe possesses good 
judgment and fairness to a marked de- 
gree, no man who has anything to offer 
need fear for his job. 

Welcome's diamond ring: Welcome 
Lewis has the radio studios in the east 
doing a little speculating. No, my 
dears, not in U. S. Steel or A. T. & T. 
They have all had that experience, 
more or less to their respective sor- 
rows. 

But Welcome, who is more that way 
than the flowers in May, owns a dia- 
mond ring. Lots of gals do? Well, 
yes, but not an eight-karat chunk of 
Tiffany ice. 

At any rate, question No. 1 is, "Who 
gave it to her?" and the next item of 
interest is, "When actually is she wear- 
ing it?" 

For the donor presented Miss Lewis 
with two "dummy" stones besides the 
real diamond. All of 'em screw into 
the ring with a lock behind to make 
them more secure. 

All of which seems to be making 
things difficult for the jewel robbers. 
Imagine stealing an eight-karat dia- 
mond only to discover that that was 
the night the lady was wearing her 
paste! 

Kate Smith, investor: You have 
heard the one about a fool and his 
money being easily parted? 

Well, Kate Smith is no half-wit los- 
ing ground. This portly young woman 
has become known through radiodom 
as the Hetty Green of the air waves. 

Wherever the large lass goes, house 
records are broken in the theater, and 
while her salary in radio isn't by any 
means the largest paid, it is plenty big 
enough to keep the wolf far away from 
her apartment door. 

Eight thousand dollars is Miss 
Smith's average weekly wage, and she 
has been investing most of it intelli- 
gently and wisely. Even financiers who 
were famous before Wall Street be- 
came a side street envy Kate's business 
ability. 

The secret of this lady's success is 
that she knows that her golden voice 
will not last forever, and when the 
tones become metallic, the golden dol- 
lars will fail to appear. 



One-Dollar Rambles 

If you will write us letters of 
approval or criticism about 
radio favorites — or otherwise — 
we will pay you One Dollar for 
every letter we publish. All 
letters should be constructive. 
Address your letter to Radio 
Rambles, in care of The New 
Movie Magazine, 55 Fifth 
Avenue, New York City. 




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The New Movie Magazine, July, 1932 



117 




THE LURE OF LIVING LIPS 

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(Continued from 
page 116) 



Week-End Marriage— 
Warners-First National: 
New York and St. Louis. 
Question: How to be 
happy though married. 
From Faith Baldwin's novel. 
Acted by Loretta Young, 
Norman Foster, George 
Brent, Yivienne Osborne, 
J. Farrell MacDonald and 
Richard Tucker. Directed 
by Thornton Freedland. 



The Roadhouse Murder — 

RKO: Romance of a cub 
reporter (Eric Linden) and 
a police inspector's daugh- 
ter (Dorothy Jordan). 
Need we say more? Oh, 
yes, and a murder. And 
Roscoe Ates, the stutter- 
ing, too. But the report- 
er's saved just in the 
shadow of the electric 
chair. Directed by J. Wal- 
ter Ruben. 



Hold 'Em, Jail— RKO: Bert 
Wheeler and Robert Wool- 
sey in a ritzy prison. Betty 
Grable and Edna May 
Oliver outside, but fre- 
quently in. Roscoe Ates 
as quarterback of the 
prison football team. So 
what else matters? Di- 
rected by Norman ("Skip- 
py" and "Sooky") Taurog. 
Advance notices say it will 
be one of the team's best. 



Doctor X — Warners-First 
National: Lionel Atwill, the 
brilliant stage actor, sup- 
ported by Lee Tracy, Fay 
Wray, Arthur Edmund Ca- 
rewe, John Wray and 
others, in a Lower Manhat- 
tan murder mystery solved 
— in the last reel, of course 
— by a scientific detective. 
Spooky and thrilling. 




: 



118 



The Neiv Movie Magazine, July, 1932 




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Hollywood 
Bandwagon 

{Continued from page 49) 

reception by the home town. 

With William Collier, Sr., as 
master of ceremonies and Will 
Rogers the principal speaker at the 
ninth annual banquet of the Beverly 
Hills Chamber of Commerce, Tom 
Mix got the biggest laugh of the 
evening. 

"You've spoken about your beau- 
tiful streets, your fine homes and 
your good schools," Tom told the 
six hundred guests, "but you 
haven't said anything about your 
divorces. 

"If I have many more I'll have to 
send my alimony checks out in 
alphabetical order." 

GARBO'S PLANS: Greta Garbo may 
go back to Europe but if so it will 
be only for a visit. 

What she really wants to do is free- 
lance, making a picture now and then 
for the company finding a story she 
likes. 

On the other hand, if Metro-Gold- 
wyn-Mayer bids high enough she will 
sign another contract there. 

LOCAL SENSATION: When Estelle 
■* Taylor and Jack Dempsey met 
casually in a Los Angeles theatre and 
shook hands the audience became more 
interested in them than in the play. 

"After all," said Estelle, "when a 
man meets a woman to whom he was 
once married the least he can do is 
shake hands." 

NO CURIOSITY IN PARIS: When 
Harry Eddington, the Great 
Garbo's business manager, left for 
Europe the gossips had him doing 
everything from buying the bankrupt 
Kreuger Match Company to forming a 
film corporation for Garbo to make her 
own pictures. The rumors were stopped 
when Greta herself stated that she was 
going to live in Par*is, where she would 
no longer be a curiosity. 

EAR NEWS: Preston Foster once 
made a test for M. G. M. They 
turned him down because his ears stuck 
out. 

Eight or nine months ago, during a 
vacation period, Foster -had the offend- 
ing ears worked on so as to be ready for 
future tests. Warners then signed him. 

It's an odd thing, but Clark Gable 
was turned down at several studios for 
the same reason, but M. G. M. signed 
him anyway. 

BACK TO ORIGINAL: Joan Blondell 
has cut off her blonde hair to with- 
in an inch of her scalp and is letting it 
grow back in its natural shade, which 
is dark brown. She will make tests for 
her next roles with her own hair, and 
if they are not satisfactory, then she 
may blonde it again or wear a wig. 

MR. ARLISS' VACATION: George 
Arliss will spend the summer at 
St. Margaret's at Cliff in Kent, some 
ninety miles from London, where he 
has a small estate. 

GARGOYLES AND GARGLES: "Get 
me a gargoyle," instructed James 
Whale when he was preparing: the sets 
{Please turn to page 120) 




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The New Movie Magazine, July, 1932 



119 






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721 B Federal Schools Bldg., Minneapolis, Minn 




Hollywood Bandwagon 



{Continued from page 119) 



for "The Old Dark House." 

"Any special kind?" asked the prop 
man. 

"No," said Whale, "just a gargoyle." 
A few minutes later the prop man 
returned bearing proudly a large bottle 
of mouthwash. "It's a nationally ad- 
vertised brand, so I guess it's all 
right," he said. 

MANNERS, THE SILENT: David 
Manners has, for the past year, 
been taking singing lessons on the Q.T. 
Surprised were Warners' executives 
when they made a test of him for "The 
Crooner." So surprised in fact that 
they immediately gave him the lead. 
And all this time other studios have 
been signing professional singers for 
similar parts. 

HOLLYWOOD HUMOR: When 
Marian Nixon and Ralph Bellamy 
went on location to Santa Cruz for 
"Rebecca of Sunny Brook Farm," they 
made a personal appearance at a little 
neighborhood theatre. Some of the 
folks back on the home lot heard of the 
coming event and the result was tele- 
grams, flowers and all the other at- 
tendant "gags" of a Hollywood pre- 
miere. It was big stuff for Santa Cruz 
and a lot of fun for everyone concerned. 

J. Carroll Naish is a real Irish- 
man. His family home, Albert 
House, in Killcee, Ireland, has been 
family property for more than 
seven hundred years. His father 
and two aunts still live there. The 
actor says he prefers to biiy his 
clothes in London. "Because I like 
English buttonholes best," he says. 

BOUDOIR DONE OVER: Joan Ben- 
nett has had her boudoir done over 
in white, relieved with gold and light 
blue. The furniture is of French de- 
sign, with gold and blue upholstery and 
a dash of gold on the white woodwork. 
It was formerly in peach shades. 

JOE E. BROWN'S VACATION: Joe 
E. Brown recently took a three weeks' 
vacation at Lake Arrowhead. It was 
his first in three years. What with 
pictures, personal appearances and the 
legitimate stage, Joe E. hasn't had 
much time with. the little family. 

ANOTHER LANDI ACCOMPLISH- 
MENT: Elissa Landi inherited a 
pipe organ with the home she pur- 
chased in the suburbs of Hollywood. 
Along with her other reputed accom- 
plishments she is learning to play the 
contraption. 

HOLLYWOOD CANDIDATE: One 
of Hollywood's many candidates 
for the Congressional nomination, 
Maurice McCarthy, says he favors a re- 
peal of the Eighteenth Amendment and 
the passage of the Dickstein Bill. This 
is a proposal to classify all foreign ar- 
tists and writers as contract laborers, 
thus denying them free admission to 
the country. With some twenty thou- 
sand of native talent in town, things 
look good for his candidacy. 

STORK NOTE: That long-legged bird 
continues to hover and circle above 
the home of Helen Twelvetrees and 
Frank Woody. Perhaps about August. 



Doug Fairbanks, Jr., is abusing 
his upper lip again. He's making 
another try at a moustachio but 
we don't know why. 

DON'T ASK US: What will it be at 
the Spencer Tracy's — a boy or a 
girl? 

CORTEZ JOINS POLOISTS: The 
Riviera's latest polo addict is Ri- 
cardo Cortez. This expensive pastime 
will continue until one of our leading 
men cracks up in the middle of a pro- 
duction. That will be the time to pick 
up some saddles cheap. 

Little Dickie Moore has a new 
contract with Hal Roach that calls 
for a maximum of $525 per week 
for five years. 

CHIC SALE AS HE IS: When Erie 
Kenton, Chic Sale's director for his 
new picture, "Competition," began call- 
ing the actor "Dad" on the set, Sale de- 
cided it was time to acquaint the public 
with the fact that he was not an old 
man. 

The result is that future pictures of 
"Chic" for advertising will show him 
as he actually is — and not as the char- 
acters he has made famous. 

A monkey used on the Marx 
Brothers' set took a nip of Harpo's 
arm, but will recover. 

TALENT IN MIDGET PLAY- 
HOUSE: Teatro Leo Carrillo, 208- 
seat theatre on Olvera Street where 
Hollywood goes for its Spanish color, 
boasts some real talent. Leo Carrillo 
appeared in the opening play, while Ian 
Keith was booked for the second pro- 
duction, "The Copperhead." 

Harold Lloyd claims that the 
specs he wears are the same ones 
he has used for the past fifteen 
years in every picture. (What 
mileage!) 

DID YOU KNOW—? Fredric March, 
Norma Shearer, Eleanor Board- 
man and Neil Hamilton are among 
some of the many better known who 
once posed for clothing ads, and did it 
very well. 

TOOK BOTH HOMES: Janet Gaynor 
has shown her admiration for John 
McCormack's choice of architecture by 
encamping herself in both of his Holly- 
wood homes. Janet not only occupies 
the thatched-roof dressing room on the 
Fox lot, but she and her husband, Ly- 
dell Peck, are living in the songster's 
hillside home while he is on his opera 
tour. 

Gary Cooper's father is trying to 
figure out how much it will cost to 
mount the sixty hides his son 
shipped from Africa. 

WRONG AGAIN! Just when Holly- 
wood was agog over a possible 
Miriam Hopkins-John Gilbert romance 
Miriam decided to go to New York and 
see her former husband, Austin 
Parker, from whom she had been sep- 
arated for almost a year. 



120 



The New Movie Magazine, July, 1932 



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*v*~m ^ »»w»»»» v » 



Hollywood 
Bandwagon 

PETER FULLY GUARDED: Connie 
Bennett has attached a burglar 
alarm to the doors and windows of her 
child's nursery. Recently when Con- 
nie entertained, one of her guests ex- 
pressed a desire to see young Peter, 
who was sleeping peacefully in his 
nursery. When they opened the door, 
the alarm sounded with gusto, and little 
Peter was so frightened he cried for 
the rest of the night. All of which 
proves that there are times and times 
for alarms ... or doesn't it? 

JUST FRIENDS: Joel McCrea is still 
*-» a frequent visitor to Connie Ben- 
nett's home and set — which all proves 
that their much publicized romance was 
only a friendship all along. 

THIS IS HOW JACKIE STANDS: 
Just to show what a favorite Jackie 
Cooper is with his boss, Louis B. Mayer, 
Jackie's picture is the only member of 
the theatrical profession to rate wall 
space in the Chief's reception room, and 
it is surrounded by photographs of 
statesmen and presidents. 

ONLY THREE HOURS A DAY: 
Because of Marie Dressler's ill 
health, she is only able to work three 
hours each day. Which means that 
M. G. M.'s new and watertight thirty- 
day production schedule has gone 
wrong again. 

MARION IS HOSTESS: Vincent 
Astor and William Rhinelander 
Stewart occupied Marion Davies' beach 
house during their recent Los Angeles 
visit. 

MARILYN, PERHAPS: Marilyn 
Miller may do the starring role in 
"The Merry Widow" for M. G. M. . 
Remember Mae Murray in this part in 
Jack Gilbert's hey-day ? 

CLAUDETTE AND HER BOOKS: 
When Claudette Colbert arrived in 
town she was closely followed by her 
some two-thousand books (so her press 
agent tells us). Anyhow, Norman 
Foster (her hubby, in case you've for- 
gotten) is mighty glad to have the 
wandering little missus back by the 
fireside again. 

HOSPITAL NOTE: Walt Disney, 
the man who makes Mickey 
Mouse, has taken up polo. Horace 
Horse-collar is not mentioned in the 
dispatch. 

ANOTHER SECRET: It's supposed 
. to be a big secret, but Douglas 
Fairbanks, Jr., is helping do the script 
on "Revolt," which is to be his next. 

HOPE FOR AUTHORS: Here's 
some cheering news for would-be 
authors. 

W. R. Burnett, author of "Little 
Caesar," wrote 200 short stories and 
four novels before he produced that 
best seller. Then there is Will James, 
the illustrator, who felt he could write. 
His stories are ungrammatical and his 
sentences clumsy, yet his first yarn 
written in long-hand sold to Scribners. 
Since that time he has sold hundreds of 
stories and produced eight books. His 
writing was different, which should con- 
stitute a gentle but valuable hint. 




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1 



The New Movie Magazine, July, 1932 



121 



The NEW MOVIE Magazine's HOLLYWOOD NEWSREEL 



AFTKRbrain- 
A C u (1 g e 1 - 
i n g for 
months, M-G-M 
picks Jean 
(Platinum 
Blonde) Harlow 
to play "Red- 
Headed W o m - 
an." 

"I'm not 

a laborer, 
lii red to do 
a quick job. 
M iss Die- 
trich' s status 
is the same 
as mine." 
Joseph von 
Sternberg 




his purse strings broke, 
mi nee- meat job. 



Hence the 



i 

International Photo 
"Mysterious Mary" 
Reeves, mentioned by 
the press as Charlie 
Chaplin's protegee, is 
in French Films. Char- 
lie maintains he has 
only a protessional in- 
terest in her. 



Mickey 
Mouse's new 
home cage is the 

offices formerly occupied by Charlie 
Chaplin, who's gone British again. 

Lillian Bond threw away her English 
accent, was cast in the extremely En- 
glish "Old Dark House," got it back 
again with great difficulty, and is now 
sought for a Chinese part. 

Noel Coward was presented to 
Lady Diana Manners in London. 

"What did you say your name 
is?" inquired Lady Diana. 

"Coward," said Coward. "Noel 
Coward." 

"Oh, yes," said Lady Diana. 
"'Private Lives.' Not very funny!" 

"And what is your name?" que- 
ried Coward. 

"Diana Manners," replied Lady 
Diana. 

"Oh, yes," mused Coward. "The 
Virgin in 'The Miracle.' Very 
funny!" 

HOME from Africa, Gary Cooper 
says the only time he heard a 
hyena laugh was when he shot at one. 
Then a whole bunch of them came 
around and laughed at him. 

Looking at the daily "rushes" in 
a projection room, a Fox studio ex- 
ecutive stood up suddenly and be- 
gan to tear his hair over what was 
supposed to be a dramatic scene. 

"Look at that girl," he exclaimed 
indignantly, "working herself up 
into a terrific state of calm." 

Donald Cook once kept the wolf 
from the door 
with mince- 
meat. He ped- 
dled it. Son of 
a banker who 
snorted at son's 
theatrical aspi- 
rations, when 
Don left home 



Hobart Bosworth, grand 
gentleman of the films, 
and "Cameo," who 
ranks with Tom Mix's 
"Tony" as one of the 
most beloved horses in 
Hollywood. 

Photo hy Wide World 



Iii "Smilin' Through," Norma 
Shearer gets back to sweet-thing 
roles. 

Fox to pay Clara Bow $125,000 
per picture. Contract runs lor six 
months. 

Darryl Zanuck, Warner Broth- 
ers-First National production chief, 
expects to return from Europe with 
Emil Jannings with him, signed, 
sealed and delivered. 

That girl of platinum-hair fame, 
Jean Harlow, created a sensation 
by appearing at the "Grand Hotel" 
opening in Hollyivood with red 
hair set off by a shell-pink crepe 
gown. A pink velvet cape, banded 
with sable, completed the ensemble. 

Show Must Go On! An example of 
veal gameness was displayed by Bela 
Lugosi recently while appearing in 
"Murdered Alive" at a Los Angeles 



Ignace Paderewski, famous pianist and 

war-time premier of Poland, visiting 

"Uncle Carl" Laemmle at Universal 

studio. 



Doug. Sr., and some of the Tahitian girls 

in his new "Robinson Crusoe" — and in 

front, his leading lady, Maria Alba. 



theater. During the third night per- 
formance, at the conclusion of the third 
act, he fell through a trapdoor on the 
stage and broke three ribs. The show 
went on, and Lugosi did not miss a 
single performance. 

Looking about at all the ele- 
phants, ducks, monkeys, pigeons 
and other animals on the Harold 
Lloyd set at United Artists, Al Jol- 
son said: 

"Everybody working but people." 

Jack Dempscy has been seen around 
the studios recently. It is reported that 
he is willing to return to pictures. The 
last he made were in 1925. He and 
Estelle have been seen together — just 
good friends — and Hollywood gossips. 
Meantime she's been auctioning off 
their furniture. 





No wonder Ann Dvorak is 
hugging new hubby Leslie 
Fenton — for they are now 
one of Hollywood's most- 
sought-after pairs, both so- 
cially and professionally. 





Photo In Wide World 



Photo in u idt World 



Colleen Moore signed by M-G-M. A new Colleen. Here's 
wishing for a big comeback for her. She has a new hus- 
band and a new haircut, too. 

From Husband to Wife: A sculptor recently presented 
Ken Maynard with a bust of himself. Ken pasted a long 
beard on the likeness and presented it to his wife as an 
anniversary gift. However, a few hours later he squared 
himself by giving her the deed to a new and fully furnished 
home. "Just a token of my appreciation," said Ken. 

When our cover artist, McClelland Barclay, and his wife 
appeared at the Hollywood opening of "Grand Hotel," 
Mrs. Barclay set off her Titian hair by wearing a gold 
frock with a three-quarter length jacket of Hexter brocade, 
bands of sable edging the collar line. She is under con- 
tract to M-G-M. 



122 



The Neiv Movie Magazine, July, 1932 



L/CUJS 

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then leave them — if you can 



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As you draw in that cool, fragrant smoke 
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Mil 



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New Movie 



MAGAZINE- 



• ^W WW mm w\ 

MAGAZINE 





AUGUST 

1932 1 

I O CENTS 

IS'' in Canada 

Rebel of the Films By JIM tully 

If I Were a Picture Producer By peter b. kyne 

Hollywood's Greatest Friendship By adela ROGERS ST. JOHN 





W 7 I4A1D 



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A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury 

The New Movie Magazine, August, 1932 3 




Beginning next month — Will Hays' Own Story of his ten years in movies, 
told for the first time, to his friend Will Irwin, noted author. The most 
startling chapters of inside Hollywood history ever given to the public. 



H ■ 

■ 


wit ^1 




^9 I | 


■^■S> 





The New Movie 

One of the TOWER MAGAZINES 



VOL. VI. No. 2 



HUGH WEIR, Editorial Director 
Cover Design by 

McClelland Barclay 



VERNE PORTER, Executive Editor 



AUGUST, 1932 



FEATURES 

If I Were a Movie Producer Peter B. Kyne 20 

Bon Voyage, Garbo Berton Braley 22 

Can Mary Pickford Come Back? Adela Rogers St. Johns 24 

Edgar Wallace's Hollywood Diary 27 

Hollywood's Rebel, Charles Bickford Jim Tully 34 

The Town of Forgotten Faces Ramon Romero 38 

Platinum Turns to Gold 40 

Hon. Ogre Wallace Irwin 43 

Suit Yourself 44 

Would You Put Your Child in Pictures? Dorothea H. Cartwright 48 

Is Radio Going the Way of the Movies? K. Trenholm 50 

Honeymoon House 58 

Pet Oddities of the Stars Hester Robison 62 

Dreams Jack Jamison 68 

Lonely Little Girl 70 

I Knew Them When J. Eugene Chrisman 72 

DEPARTMENTS 

Hollywood Bandwagon 6 

Our Hollywood Kindergarten 14 

What's Wrong with this Country? Herb Howe 36 

Movie Cook-Coos Ted Cook 53 

Radio Rambles 56 

News and Pictures of Forthcoming Films 64 

Paris vs. Hollywood, 54; Needlework for Summer Afternoons, 74; In the 

Hollywood Whirl, 75; Floors and Walls for the Colonial Home, 76; Music 

of the Sound Screen, 78; Keeping Slim, 80; The Make-Up Box, 100. 

IVAN ST. JOHNS— Western Editor 



Largest Circulation of Any 
Screen Magazine in the World 



On Sale the 1 5th of Each Month 
in Woolworth Stores 



Published Monthly by 

TOWER MAGAZINES, Inc., 

Washington and South Aves., 
Dunellen, N. J. 



Executive and Editorial Offices: 
55 Fifth Avenue, New York, N. T. 

Home Office: 
22 No. Franklin St.. Wilkes-Barre, Pa. 



OFFICEBS 
Catherine McNelis, President 
Theodore Alexander. Treasurer 
Marie I*. Fcatherstone, Secretary 

ADVERTISING OFFICES 

5 5 Fifth Avenue, New York, N. Y. 
919 N. Michigan Ave, Chicago, 111. 
0777 Hollywood Blvd., Hollywood, Cal. 

Copyright, 1932 (Beg. V. S. Pat. Off.), by Tower 
Magazines, Inc., in the United States and Canada. 
Subscription price in the U. S. A., $1.20 a year, 
10c a copy; in Canada, $2.40 a year, 20c a copy: 
in foreign countries, $2.00 a year, 20c a copy. 
Entered at the Post Office at Dunellen, N. J., as 
second-class matter under the Act of March 3, 
1879. Printed in U. S. A. Nothing that appears 
in The NEW MOVIE Magazine may be reprinted, 
either wholly or in part, without permission. 
Tower Magazines, Inc.. assumes no responsibility 
for the return of unsolicited manuscripts, and 
they will not be returned unless accompanied by 
stamped, self-addressed envelopes. Owners sub- 
mitting unsolicited manuscripts assume all risk of 
their loss or damage. 

Member of the Audit Bureau of Circulations 



bif ALSZQt' TXTRkt^ 



SEEMS TO ME THOSE TWO ARE A MIGHTY 
LONG TIME SAYING GOOD NIGHT 




YOU KNOW, I TAKE 

SOME OF THE CREDIT 

FOR YOUR SISTER'S 

ENGAGEMENT 



OH, YOU PLAYED 

MATCHMAKER, 

DID YOU? 




HERES HOW IT HAPPENED 



SHE TOLD ME THAT THE FIRST TIME 

THEY WENT TO THE MOVIES IT WAS 

A BROILING HOT NIGHT. HE DIDN'T 

ASK FOR ANOTHER DATE. SHE 

WAS HURT, BEWILDERED 




SHE TOOK MYTIP-AND PRETTY SOON SHE WAS 

WEARING HIS RING . LIFEB UOY ENDED 

HER TROUBLE. SMOOTHED THE WAY TO ROMANCE 




I SUSPECTED HOW SHE HAD OFFENDED, 
SO I TOLD HER ABOUT LIFEBUOY 
AND HOW SO MANY GIRLS ALWAYS 
USE IT TO MAKE SURE THEY WILL NOT 
BE CUILTY OF 1% B.O" 




// 



B.O." weather now — beware! 

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hot days. But we can prevent "B.O." (body odor) 
from offending! Just bathe regularly with Lifebuoy. 
Its creamy, abundant, cooling lather washes away heat 
and stickiness — every trace of odor, too. Purifies pores 

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Complexions that charm 

Every night, cleanse the face thor- 
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A PRODUCT OF LEVER BROTHERS CO. 





Tine New Movie Magazine, August, 1932 



HOLLYWOOD 

BANDWAGON 

All the Latest News and Gossip of the Film Stars 




SALLY AND THE BABY: One sad 
thing about the marital difficulties 
of Hoot Gibson and Sally Eilers is the 
genuine affection that has sprung up 
between Sally and Hoot's little girl, 
Lois. 

By an arrangement between Hoot 
and his former wife, Helen, he has full 
custody of the child, and during the 
months that have elapsed Lois and 
Sally have become great chums. 

CECILIA'S NICE, TOO: Matters be- 
tween George O'Brien and Cecilia 
Parker have progressed to the point 
where he calls her "Sooky." 

Eddie Kane, the actor, saw an 
item in a trade paper that he and 
Eddie Cantor were partners in a 
vaudeville act fifteen years ago. 

Clipping it out, he sent it to 
Cantor with the following query : 

"Now aren't you sorry you didn't 
stick to me?" 



Word comes -from "Lunnon" that Gloria, 
Michael Farmer (the new husband) and the 
new baby are soon to set foot on these 
shores again — and that Gloria is to try 
another picture. Do you remember her in 
the old days when she played with Mack 
Swain and Chester Conklin in the •famous 
Sennett comedies? 



DOTTED LINE NOTE: Robert 
Montgomery and Wallace Beery 
have signed on the dotted line for long 
terms at MGM. Who said depression? 

Sidney Fox's car backed off a hill- 
side, turned a complete somersault 
and landed in a tree forty feet be- 
low. Sidney didn't even suffer a 
scratch. . . . You're wrong! She 
was in the car. 

Following the recent argument 
between Buster Keaton and his 



Photo by Culver Service 

ivife about taking the children air- 
plane riding, Buster presented his 
wife with a nice new limousine. 

"I don't see why the women get 
so hot and bothered about the 
Barrymore profile," says Jimmy 
Durante. "I've got more nose tnan 
the whole Barrymore family com- 
bined." 

HARRY AT MALIBU: Harry Ban- 
nister (no longer Mr. Ann Hard- 
ing) has joined the Malibu colony for 
the balance of the summer. 

ON THE OTHER HAND: Picture 
stars are not all extravagant. 
Richard Arlen drove his last car 87,- 
000 miles before trading it in. 

And on the other hand, there is a 
popular movie resort near Palm Springs 
where steaks sell for $5 apiece, being 
brought there daily by plane from 
Chicago. 



The Neiv Movie Magazine, August, 1932 



Recent photograph by Preston Duncan, Hollywood 



Recent photograph by Ruaaell Ball, Hollywood 



Recent photograph by Nickolu Muray New York 




a 



I'M OVER 



26 3d 4d 



^Jean jfiarlonr 

Ocreen stars 

keep the 

charm of 

YOUTH 



Tio/a Dt 



ana 



^il/a Nazimova 



SCREEN STARS know how im- 
portant it is to keep youthful 
charm. So they begin very early to 
give their lovely complexions zeal- 
ous and regular care. 

Jean Harlow, delightful young 
star, says: "I learned Hollywood's 
secret and started using Lux Toilet 
Soap my first day in the studio." 

Lovelier than ever at 30, Viola 
Dana says: "Nowadays no woman 
need worry about growing old. I use 
Lux Toilet Soap regularly to keep 
my skin at its very best." 

And the glamorous Nazimova, for 



so long an idol of the stage and 
screen, can well say: "Very few 
actresses look their age. Like me, 
they take care of their complexions 
with Lux Toilet Soap. It is a marvel, 
that soap. For years I've used it." 

9 out of 10 Screen 
Stars use it 

Of the 694 important Hollywood 
actresses, including all stars, 686 use 
fragrant Lux Toilet Soap. It is the 
official soap in all the big film studios. 
So gentle — so white that no other 
soap can rival it! 



LUX Toilet Soap_iO 



The Neiv Movie Magazine, August, 1932 



Joan Crawford, the girl who sets the styles Joan, and sun tan 

Joan and Doug, Jr., at home and abroad 





Photo by Wide World 

Anna May Wong, breaking ground for the Chicago World's Fair replica of 
the Golden Pavilion of Jehol, finest example of Chinese Lama architecture. 



Photo by Culver Service 



At last, George M. Cohan has succumbed 
to the talkies, and will act in — and pos- 
sibly direct — them. And here's the same 
George M., with his father and mother 
and sister, Josephine, years ago when 
they were known as "The Four Cohans." 



JOAN SETS THE STYLE: Joan 
*-» Crawford started all sorts of 
things in the spring. She came out 
with bangs with such startling suc- 
cess that barbers were kept busy all 
summer cutting Joan Crawford 
bangs.. Everything Joan does she 
manages to make interesting. 

She is the ideal of young Amer- 
ica. You will hear collegiate 
America say, "You can have your 
Greta Garbos but we'll take our 
Joan!" She represents the dramatic 
and romantic spirit of the times. 
She is probably MGM's best box- 
office draw, not excluding Clark 
Gable, the Garbo, Beery and the be- 
loved Marie Dressier. 

JOAN swung popular favor toward 
deep 'sun tan again this year. 
Hollywood is decidedly on the fence 
as to whether to keep just a healthy 
brown or lean toward last year's 
negro blend again. 

Joan, looking like a native South 
Sea island belle when she went into 
"Rain," decided the popular trend 
instantly. She was such a rich choc- 
olate brown that her Hollywood girl 
friends and competitors could stand 
it no longer ... so sun tan was im- 
mediately acquired in its deepest 
shades. 

WITH all these rumors of domes- 
tic trouble for film couples it's 
nice to see Joan Crawford attending 
previews of Doug, Jr's newest pic- 
ture. 



The New Movie Magazine, August, 1932 




COUNT THE HITS 



Number I 

'caught short" 





Number 2 
"REDUCING" 




Number 3 

POLITICS 




AND NOW t/ukie pi^u/ujlu tu/i/im rEmotel. 

DRESSLER 

in, \tvttat t&cL cotuitru rteecU*-) 



Just around the corner, at your 
favorite movie theatre, the laugh 
riot of the year! Instead of mop- 
ing around the house worrying 
about the Depression— see Marie 
and Polly tackle the money 
problem in the funniest picture 
they've ever made. All the 
world's been waiting for PROS- 
PERITY. Here it is! 





METRO - GOLDWYN - MAYER 
SCREAMIE! 



with 

Anita Page 

Wallace Ford 

Trected by Leo McCarey 



The New Movie Magazine, August, 1932 




Marlene Dietrich and perfume Marlene and her 

daughter .... Marlene as a movie fan .... Marlene 
as one of Hollywood's best-dressed women. 



What the Well-Dressed Parisian will wear! 
— as exhibited by Robert Young, of M-G-M, 
following the dictates of the French Master 
Tailors' Federation. Note that he wears a 
white summer jacket with the regulation 
black tuxedo trousers. 



(Right) Polly Moran and her son, John 
Michael Moran, with their new car, be- 
tween scenes on location during the filming 
of "Prosperity," in which she and Marie 
Dressier team up in hilarious combination. 



(Below) Dainty June Clyde gets a rest, if 
only a brief one, at last. She has appeared 
in four pictures in three months, her last 
being "Back Street." She is a starlet from 
whom great things are expected. 



ABOUT MARLENE: 
While we are on the 
subject of Marlene Die- 
trich — now that we are — 
it is surprising to learn 
that Marlene Dietrich 
never uses perfume. She 
prefers the light, wafting 
scent of toilette waters. 
She keeps these waters in 
enormous atomizers at the 
studio and at home. She 
sprays the scent on her 
hands and hair only. 



ONE reason why most of the Para- 
mount players want to be cast in 
Miss Dietrich's next picture, "Blonde 
Venus," has been unearthed. It 
seems that on every picture Miss Die- 
trich makes it a point to bring a plate 
of some delectable food almost every 
day to the members of the cast. She is 
very proud of her cook and the unusual 
continental dishes she can concoct. 




Creighton Chaney, son of Lon, 
is taking up horseback riding, 
and the Paul Whiteman diet. 
He's a big fellow, anyway — and 
keeps getting bigger. 

l'huli, 1,1/ Qatton Lonaet 

ALMOST any night dur- 
ing the week, the 
neighborhood theater in 
Beverly Hills is visited by 
Marlene and her daughter. 
Both Marlene and Maria 
are "movie" fans and never miss any 
of the big pictures. They usually ar- 
rive for an early show, and the audi- 
ences are quite used now to the nightly 
visit of this famous pair. 

BUT Marlene's easily recognized 
Rolls, in green and beige, has 
changed its color scheme. It is now a 
smart dull gray. Just another sign of 
spring in Hollywood. 





Photo by Ray Jones 



AND, while we are talking about her, 
Marlene has developed into one of 
the film colony's best-dressed women 
this season. Her collection of spring 
clothes displays a remarkable under- 
standing of style, color and line. 
Among the most startling of her cos- 
tumes is one tailored suit comprising a 
lipstick-red jacket and dark-brown skirt. 
The part hat that accompanies it is 
brown straw with one impudent red 
pompon and one brown in the front. 

Another ravishing outfit is of dark 
green and bright yellow, and as for 
those people who say that a blonde 
should never wear yellow, we advise 
just one glimpse of Marlene in this 
costume. 

BEBE DANIELS' lovely early Amer- 
ican beach cottage at Santa Monica 
has been rented for the year by Mar- 
lene. Maria, her daughter, is a bud- 
ding athlete, and she likes her dip in 
the ocean every day, no matter what 
the weather may be. 

THAT famous trio in white now 
takes on a fourth. There's Mar- 
lene, her husband, von Sternberg, and 
the little girl, seen places together, 
all garbed in white with berets to 
match. 



10 



The New Movie Magazine, August, 1932 



^J 




The New Movie Magazine, August, 1932 



11 



Is Janet Gaynor still popular? Charlie Farrell and his chauffeur 

the "Also Muffed" Club Charlie and Virginia 

Joan M a rsh loves 
horsoback riding, and 
gets into the saddle 
at every idle moment. 
Her latest picture is 
"Fancy Free," with 
Adolphe Menjou. 



Janet in 




(Right) For the stars don't work all the 
time; sometimes they play. Here are Har- 
riet Hagman, who was snapped up for 
pictures from Earl Carroll's "Vanities," and 
Rochelle Hudson — and don't fail to read 
about her in Edgar Wallace's Hollywood 
Diary next month — doing a tandem on 
stilts, "pogo style," at Santa Monica. 





Photo by Wide World 



When Noel Coward, English playwright and stage star, visited Hollywood, he 

was the guest of Tallulah Bankhead. Here you see them with Richard Wallace, 

who is directing Miss Bankhead. 



AND IS JANET POPULAR? Janet 
Gaynor still popular with the pub- 
lic ? Well, we guess! The very next 
day after a popular writer had an- 
nounced over the radio that she had 
returned from Europe and had her hair 
cut in an entirely different manner, he 
received over 700 letters begging him 
to describe the exact sort of hair cut 
she had had, and how she was having 
it waved, and how becoming it was to 
her, etc., etc., ad infinitum — according 
to his report. 

Janet had no intention of keeping a 
different hair cut or dress for her pic- 



ture, but she knew she had time before 
she started another picture to take • 
liberties with it — so she did! 

CHARLIE FARRELL is driving be- 
hind his very own chauffeur for the 
first time in his life these days! Be- 
lieve it or not, Charlie has never had a 
chauffeur in his life before! 

He bought such a beautiful new 
Packard that he didn't have the nerve 
to drive it around all the time himself. 
"It probably would feel slighted or 
hurt," grins Farrell. "Maybe it's be- 
cause I'm getting old or something, 



I'hoto by Wide World 

but I surely enjoy, after a long day at 
the studio, sitting in the back seat and 
taking it easy!" 

Then, too, of course, he and Virginia 
are still apparently very much in love 
— and almost any one will tell you it's 
tough to drive a great big special chas- 
sis Packard with one hand! Also, it's 
rather hard to arrive at a swanky af- 
fair with immaculate evening clothes 
after sitting behind a wheel all the way 
over. ... Oh, there are just lots of 
reasons why Charlie has bought him- 
self a chauffeur. Perhaps it's the un- 
employment situation! Who knows? 

SPEAKING of Janet again, she be- 
longs to the "Also Muffed" club 
ever since "The First Year"! 

You see, she had bets, along with 
several other players and Bill Howard, 
the director, that she would not muff a 
single line during her scenes. . . . But 
one sad, sad day, her throat was dry, 
and the lights were hot, and — well, any 
alibi will do, the result is the same — 
Janet muffed a line! 

She was almost ready to weep at 
first, but took it all in good spirit and 
went around shaking every one's hand 
who had bet for" and against her and 
hoped for better luck next time! 

She felt particularly bad because 
Bill Howard, her director, had started 
the "Also Muffed" club when he di- 
rected Joan Bennett in "The Trial of 
Vivienne Ware," and she set the record 
of never missing or muffing a single 
line! Janet wanted to show him she, 
too, could not make him retake a single 
scene. It did not comfort her any to 
know that every other player on the 
lot was a member of the same club. 
{Please turn to page 16) 



12 



The New Movie Magazine, August, 1932 





Photo hy Von Engl 



Here are two new-found beauties you'll want to watch — Sari Maritza and Adrianne Ames, Para- 
mount starlets. Before the year is out, the studio will have decided whether either — or both — 
is star calibre. Read about Sari in Edgar Wallace's Hollywood Diary in this issue of New Movie. 



The New Movie Magazine, August, 1932 



13 



TT ■ 



Our Hollywood 



From Fargo, North Dakota, comes Virginia Bruce; is 21, was discovered by 
Director William Beaudine, played a small part in Chevalier's "The Love 
Parade,'' and now holds an M-G-M contract — and John Gilbert's attention, 
both in "Downstairs," his new picture, and socially. She's a blue-eyed blonde, 
loves playing tennis, wanted to be either a nurse or an artist, plays the piano 
and reads the classics. And did you see her in "The Wet Parade"? 




Today's starlets will be 
tomorrow's stars. Which 
of these movie newcom- 
ers do you pick for fame? 




William Gargan, Broadway stage come- 
dian from "The Animal Kingdom," 
signed by RKO, lent to United Artists to 
play the male lead opposite Joan Craw- 
ford in 'Rain.' Then he goes back to 
his old part — but this time, in the film — 
in "The Animal Kingdom." He has ap- 
peared in a number of New York stage 
productions. 



14 



This is Sheila Terry, twenty-one, blonde, 
blue-eyed, five feet five inches, 115 
pounds, born in War Road, Minnesota. 
You saw her in "Week-end Marriage," 
"Big City Blues," "The Crooner" — and 
she's a Warner-First National starlet. 
Studied dramatics in Toronto and New 
York, isn't married . . . and if she 
couldn't be an actress or a writer, would 
like to be — hold your breath! — a hotel 
manager. Plays golf, tennis, bridge, and 
is a checker champion. Anything else 
you want to know? 



The New Movie Magazine, August, 1932 



KINDERGARTEN 



You'll hear more about Paulette God- 
dard, Hal Roach baby star. Incidental- 
ly, she's a naturally wavy platinum 
blonde, blue eyes, five feet four inches, 
weighs 110 pounds, was born in Great 
Neck, Long Island, and her first film is 
"Pack Up Your Troubles." A Hal Roach 
scout discovered her bathing — on the 
beach — at Malibu. 




How about Helen Mack? Did you know 
that: She's nineteen, five feet four and 
a half inches, 105 pounds, brown eyes 
and auburn hair, is a farmer's daughter 
from Rock Island, III., began in dramatic 
school in New York when she was ten 
years old, played in a number of stage 
plays, some silent pictures, was more 
recently in "The Silent Witness" and 
"While Paris Sleeps," and is a Fox find? 
Doesn't smoke, isn't married, favorite 
color is green, wears no jewelry, and 
is easily frightened. 



Anna Sten, blonde, twenty-three-year-old 
Russian peasant girl, made her world 
hit with Emil Jannings in "Tempest." 
She has been signed by United Artists. 
Her mother Swedish, her father Russian, 
she has blue-gray eyes, silky yellow hair, 
low, vibrant voice, she speaks Russian, 
German, French and English. Will she 
be another Garbo or Dietrich or Negri? 



The New Movie Magazine, August, 1932 




15 



Joan Bennett and Gene Markey .... How she established 

a studio record .... Their new home at Malibu .... Joan 

as the most conscientious worker on the lot 





Jean Harlow and Jack Conway, her direc- 
tor, greet the president of the Motion Pic- 
ture Theater Owners, M. A. Lightman, on 
"The Redheaded Woman" set. 

Photo by Hurrcll 



Helene Barclay, under contract at M-G-M, 
and her talented husband, McClelland 
Barclay, at his Hollywood studio, where he 
is making covers for New Movie Magazine. 

Photo by Hurrcll 



JOAN SETS A RECORD: Bets have 
•J been running between players and 
directors on the Fox lot ever since 
the completion of "The Trial of 
Vivienne Ware." 

Joan Bennett set a record which 
others have found it almost impossible 
to duplicate. She went through the en- 
tire making of "The Trial of Vivienne 
Ware" without muffing a line! Bill 




Are you Just as crazy about Clark Gable 
as ever — with his new moustache? He 
wears it when he plays the older part in 
"Strange Interlude" with Norma Shearer. 

Photo by Hum II 



Howard, the director, did not have to 
retake one scene in which Joan ap- 
peared because she blew up in a line! 

Every player on the lot now starts 
a picture with bets on his or her ability 
to duplicate Joan's amazing record. 

No one, unless he lives in Holly- 
wood, or has watched moving pictures 
being taken since the players have had 
lines to speak, knows what a record of 
accomplishment, self-control, and con- 
centration Joan has set! 

THE new owners have added two new 
rooms onto the house and have also 
decorated it with the soft blue Joan 
loves. 

Constance and the Marquis have 
their Malibu house with green pre- 
dominant. Both houses are full of 
charm and good taste. Constance's is a 
bit more formal and conventional than 
the simple hospitable, informal warmth 
of sister Joan's. 




Joan Bennett poses for a portrait by the well-known illustrator, Henry Clive. On the left are Ben Lyon, her leading 
man, and Alan Crosland, her director in "Week Ends Only." 



16 



The New Movie Magazine, August, 1932 



Garbo's sense of humor .... Garbo's love for her mother 

relaxed .... Garbo, the sun bather . 



. . Garbo nervous and 




And can this be no other than our Ambassador Bill Rogers, actor, author and 
speaker, working right on the set? He is playing in "Down to Earth." 



GARBO IN JOKING MOOD: Greta 
Garbo likes fun. One noon Bob 
Montgomery passed the waiter carry- 
ing Garbo's tray to her dressing-room. 
Bob picked a withered, brown fern leaf 
from a shrub beside the sidewalk, laid 
it across the tray and said, "Please 
give this to Miss Garbo with my com- 
pliments." A few minutes later Alma, 
Garbo's maid, appeared at Bob's dress- 
ing-room door. "Miss Garbo sends this 
to you with her compliments," she said, 
and gave Bob a tiny chocolate dog, 
carefully wrapped in tin-foil, its neck 
ornamented by a huge satin bow of 
bright pink. 

Greta speaks German, French 
and Swedish fluently, and her Eng- 
lish is grammatically perfect. 

SHE keeps up a lengthy and faithful 
correspondence with her family in 
Sweden, writing long letters several 
times a week to her mother, who has 
never visited this country. 

CONTRARY to popular belief, she 
does not live entirely to herself. 
She does not mix in the social affairs of 
Hollywood, but she has a close and in- 
timate group of friends, many of them 
members of the foreign colony. At 



their homes she is a frequent guest, 
and they are often invited to her home. 
Garbo's informal suppers are delightful. 

GARBO'S maid, Alma, has been 
with her during her entire motion 
picture career. "Mata Hari" was the 
only picture which Alma missed, and 
during the making of that picture she 
was in the hospital. She was lost with- 
out Alma, who has learned to antici- 
pate Greta's every wish. 

GARBO loves the sun. It is almost a 
phobia with her, this desire to be 
in the warm rays of the California sun- 
light. If there is a long wait between 
scenes, she sits in a chair outside the 
stage door or walks up and down one 
of the studio streets in the sunshine. 
When the company goes on location, 
she spreads a rug on the ground and 
lies there while waiting to be called for 
work. 

WHEN she is working in a picture, 
Garbo is nervously tense. She eats 
dinner either in bed or at a small table 
by her fireside, studies her speeches for 
the next day's scenes and goes to bed 
at nine o'clock. Garbo has never been 
known to be late on the set or not to 
know her lines. 



Photo ov Fred Hcndrickson 



Laurence Olivier lingers on the set during 
idle moments in the filming of "Westward 
Passage," Ann Harding's new picture. 
You're to hear much more of this young 
Englishman who, in less than a year, has 
definitely established himself in the films. 



The New Movie Magazine, August, 1932 



17 



Bits of the latest gossip, on the stages and off .... a fascinating chronicle of every- 
thing that's happening in Hollywood 

TORETTA AT HOME: Loretta 



CHARLIE KEEPS HIS 
TONGUE: Whether or not 
Charlie Chaplin is stubborn we 
can't figure out. He is now con- 
sidering appearing as a deaf and 
dumb clown in his next, "The 
Jester." The rest of the cast will 
all talk. 

Chirk Gable makes his 
debut as a star in "China 
S< as." 

Here's proof that talent is 
never recognized at home. 

Irving Pichel's wife took 
their two sons to a play to 
see their father act. A min- 
ute after he appeared, one 
boy suggested: "We've seen 
father. May we go now?" 

THE STORK: The stork is 
giving George Lewis and his 
wife that dizzy eye of his. . . . 
Hollywood has kept the old bird 
rather busy lately. 

HONOLULU FOR REST: Mae 
Clarke has decided that 
Honolulu is the only place to con- 
valesce from that recent illness. 

COMEDY TEAM BREAKS UP: 
The completion of "Hold 'Em, 
Jail" marks the dissolution of the 
three - year - old team of Bert 
Wheeler and Robert Woolsey. 

Wheeler went into a ten weeks' 
vaudeville tour with Dorothy Lee, 
while Woolsey went to Mexico 
City to sign a bullfight act to be 
used in a musical comedy he and 
Tim Wheelan plan to produce on 
Broadway this fall. Woolsey will 
make a trip to the Far East be- 
fore beginning preparations for 
the play. 

One can't help but admire 
Billie Dove for not changing 
the color of her very beauti- 
ful grey hair. 







Photo hu Charles E. Bulloch 




Ol' Don Eddie Cantor, the 
Toreador — all fixed up for 
his musical comedy pic- 
ture, "The Kid from Spain," 
which Samuel Goldwyn is 
producing. Lyda Roberti, 
a large number of Anda- 
lusian beauties and a large 
flock of cattle support 
Eddie — in the picture. 



When a fad sweeps over 
Hollywood, it's a fad! Ice- 
skating is the latest, and 
its devotees have trans- 
formed Hollywood into an- 
other St. Moritz. Here 
are five of its most ardent 
exponents: Mrs. Adolphe 
Menjou, Constance Tal- 
madge, Mrs. William Tay- 
lor, Seena Owen, and 
Sally Eilers. 



Young has just built herself 
a new home. The rooms are large 
and the closets roomy. They have 
to be, to hold the wardrobe of an 
actress. There is a lovely sola- 
rium where she and her sisters, 
Sally and Polly Ann, indulge in 
sun-baths. It's quite some place 
— and she sketched her own 
plans. 

Those turtle-necked Clark 
Gable sweaters have taken 
Hollywood by storm. Some 
one hazarded the guess that 
they had become so popular 
around the studios because 
they hide the hinges in the 
necks of the "yes-men." 

BANCROFT AT LIBERTY: 
George Bancroft is making 
his last picture for Paramount on 
his present contract. He hasn't 
decided what he expects to do, 
but says he has plenty of offers 
from both Hollywood and En- 
gland. 

HELEN AWAITING EVENT: 
Helen Twelvetrees has gone 
to the summer home of her 
mother and father in the Maine 
woods to await the happy event. 
She is as excited and thrilled 
about her new role of mother- 
hood as any event of her life. "I 
always wanted to play that role 
in real life," Helen smiled, "and 
now that I have really been 
assigned the part I'm half 
frightened and wholly delighted." 



B ( 



International News Photo 



OB SCORNS MALIBU: No 

Malibu for Bob Armstrong! 
He has bought a house at Laguna 
Beach, quite in the opposite di- 
rection. "They have too much 
fun. . . . There's too much doing 
at Malibu," says Bob. "I'm so 
afraid I'll miss something that I 
can't ever rest! So it's the wild 
sea waves and quiet I'm seeking 
■ — and I think I've found it." 
Laguna is quite an artists' colony. 
Maybe Bob's taking up art — or some- 
thing. 

DIX ON HONEYMOON: For the 
first time since Richard Dix has 
had the clause in his contract which 
permits him a six weeks' rest between 
pictures, he exercised that right and 
went to Honolulu on a much belated 
honeymoon. "Honolulu is a paradise 
for honeymooners!" says Dix. "I 
should think it would be an ideal spot 
for married folks who had forgotten 
their first honeymoon — to start over, 
too," he grinned. 

JOEL IN A TENT: Joel McCrea, the 
romantic cynic, has gone back to 
natui-e or is pulling a Garbo — or some- 
thing. At any rate he is living in a 
tent in bachelor glory all his own. 

He has picked himself a spot on the 
beach, lonely and uninhabited, pitched 
his tent and is cooking his own meals 
over a wood fire. Every evening after 
his strenuous day at the studio, he 
drives to his tent. 

It won't be long now before Joel will 
— like the Arabs — pick up his tent and 
silently steal away. 

(Please turn to page 119) 



18 



The New Movie Magazine, August, 1932 



..« 










Do you remember that highly successful stage play, "The First Year," that 
ran to startling box-office records? Well, anyway, that's the new vehicle for 
winsome Janet Gaynor — and, of course, Charles Farrell. And after that they 
are to make two more romantic pictures — always romance for these two. 



The New Moiie Magazine, August, 1932 



19 



WHAT I 
WOULD DO 



IF I Were A 



PETER B. K YNE, one of America's most 
famous authors, gives the writer's view 
on how pictures could be improved 



IF I were a producer I would approach the produc- 
tion exactly as I approach the production of a 
short story, the which is the most absurdly simple 
method of approach known to man. I would first 
make very certain I had a story to tell and then I would 
proceed to tell it. 

Nowadays there is no more basic difference between 
tolling- a story in print and telling it through the 
medium of photographs and spoken lines. Merely dif- 
ferent methods to achieve the same result. 

Now, of course, I know very well that this is ex- 
actly what the motion picture producers try to do. But 
they do not succeed more than ten per cent of the 
time, and for a very simple reason: They do not em- 
ploy professional story-tellers to tell the story, to pre- 
pare it for telling in the new medium we call the talkie. 
Instead, they bewitch themselves into believing that 
because the talkie picture is a different medium the 
story must be told differently. And, alas, it generally 



I '*% 




is— so differently that when at last it is told he is a 
wise author who knows his own brainchild. 

I am one of those unfortunate wretches who's wife 
makes him accompany her to the movies. I yield be- 
cause I do not wish to be convicted of being a dog all 
the time, but I go with my ears pinned back like a 
mean horse, figuratively speaking, because I know I 
shall very likely see and hear a story told, not by one 
non-professional story-teller, but by a syndicate of 
them. I tell my wife that this is analagous to asking 
Paderewski to listen to little Mabel, aged five, pound 
out: 

Up, up in the sky, 

The little birds fly. 

Down, down in the nest, 

The little birds rest. 

However, with the years I have learned discretion. 
No matter how great the yearning to do so, I refrain 
from telling my wife, in the middle of the picture, ex- 
actly how the story is going to end. 

If I should do this she would declare passionately 
(as some of the movie people do) that I'm a knocker 
and a kill-joy. And I do not want to be a knocker and 
a kill-joy. I want to be helpful and educational — all 
of which reminds me of the dreadful experience which 
once befell a lunatic producer and director who pur- 
chased a story from a lunatic author (myself) and 
produced it exactly as I wrote it with 
the exception of one small scene, a 
change that was vitally necessary, but 
which did not at all affect the story. 

TO begin, I hooted at them when they 
selected this particular story. I 
said it wasn't a motion picture story, 
in that it did not lend itself to alter- 
ation into the standardized motion 
picture form. The capable Edward 
Sloman, who was to direct the piece, 
told me I was crazy and I told him he 
was, washed my hands of all responsi- 
bility and pouched my check. 

About two months later I received a 
telegram from the producer begging 
me to come to Hollywood for a con- 
ference. I went — and found him and 
the director in the lowest slough of 
despond. The picture, they felt 
assured, was a flop and I must write a 
set of snappy titles to bolster it up. 
(This was a silent picture.) 

The director was really ill. "I've 
fluffed it," he almost sobbed. "It was 
such a beautiful story to read but 
somewhere along the line I lost the 
spirit of it. I've busted my producer." 

"Before you two chaps die of grief," 
I suggested, "let me look at the mon- 
strosity. You will recall that I warned 
you against it." 



"When Lewis Milestone made 'All Quiet 

on the Western Front,' and followed 

Remarque's story so faithfully, its success 

was not an accident." 



The New Movie Magazine, August, 1932 



Movie Producer 




A scene from Mr. Kyne's "Never the Twain Shall Meet," showing Conchi+a Montenegro and Leslie Howard. 



I HAD Rob Wagner with me and together we sat in 
the projection room and saw the opus unrolled. 
After the third reel Rob said: "These boys are crazy. 
There's nothing wrong with this picture or the titles. 
It's a corking picture." 

At the finish I thought so, too. I said to those two 
unfortunates, "Nothing has happened, except that you 
two have fractured the unwritten law of the movies 
by producing an author's story exactly as he wrote it. 
Now, when you fail to see the old standardized form 
you have got afraid. You're so close to the trees you 
can't see the woods. The titles are good. Leave them 
alone." 

They didn't believe me, but inasmuch as I refused to 
touch the perfect job they got up sufficient courage to 
give it a pre-^iew at a Pasadena theatre. And the 



"When at las? the 
story is told he is a 
wise author who 
knows his own brain- 
child/' 

Tower Stadias 

The New Movie Magazine, August, 1932 




audience wept and laughed and chuckled and at the 
conclusion cheered and clapped. 

Outside in the foyer, producer and director fell into 
each other's arms and cried in unison : "I don't know 
a thing about the picture business." 

Well, that little picture stepped out and grossed 
better than half a million dollars and the producer 
told me later it had saved him from bankruptcy. 

Now comes my confession. I had so little faith in 
the story that before I received the check for $5,000.00 
for it, I taunted the producer for being such a sucker 
as to pay me that much money. Said he: "I'll roll 
you the bones, one flop, to see whether I pay you 
$2,500.00 for it or $7,500.00." I accepted— and de- 
parted with a check for $2,500.00! What a bright boy 
I turned out to be ! 



IF I were a producer, I'd never produce a story 
or manhandle a story to fit a star. I'd make 
the star fit the story. 

I'd never make the mistake of thinking that 
because Greta Garbo gave a wonderful per- 
formance in "Anna Christie" she was incapable 
of performing in any part other than that of a 
lady of uncertain virtue. Good artists can play 
any number of parts equally well and it must be 
terrible on them to be confined to one dreary 
role until the public sickens of them and they 
disappear into oblivion. 

If I were a producer I'd bet anybody a ripe 
peach I'd know a good story when it was sub- 
mitted to me, and {Please turn to page i)2) 



21 




22 



The New Movie Magazine, August, 1932 




[1 



HP 



I 



Do frantic directors fuss, fidget and foam? 
Our Greta says calmly, "Ay tank ay go home I " 

Do contracts displease ? With a shake of her dome 
She alters the terms with "Ay tank ay go home ! " 

Do suitors propose in the glimmering gloam ? 

She gives them the gate with "Ay tank ay go home I " 

It's rumored she'll stay, and it's whispered she'll roam, 
Well, what does she mean by "Ay tank ay go home 1 " 

Is "home" built on Swedish or Hollywood loam ? 
All Greta replies is "Ay tank ay go home ! " 

Should Greta quit — millions, from Capetown to Nome, 
Will say "Nix on movies ! We tank we go home ! " 



By 

BERTON 
BRALEY 



The New Movie Magazine, August, 1932 



23 




K. O. liuhmn 
Frances Marion, the scenario writer whose salary is reported to be from $7500 to $10,000 a week, and her bosom friend, 
Mary Pickford, for whorrl she will write Mary's "come-back" picture. 

Can Mary Pickford 
COME BACK? 



A SLIM, nervous young 
man stared with a 
puzzled air at the 

embarrassed and very beautiful woman who sat 
on the other side of his enormous desk. 

Between them lay the matter of a contract — a vital 
contract involving unbelievable sums of money. Yet 
they were agreed upon all that had to do with money, 
upon all that had to do with work. There was only 
this matter of a leave of absence. To that the woman 
clung with a sweet but immovable obstinacy, and the 
presiding genius of a great and successful business 
could in no wise move her. 

The handsome young man was Irving Thalberg, who 
controls Metro-Goldwyn-Mayer production. 

The woman was his premier writer, Frances Marion, 
who in the past year had written no less than four 
box-office smashes — "The Big House," "Min and Bill," 
"The Champ" and "Emma." 

Mr. Thalberg wanted Miss Marion to write a new 



24 



By ADELA ROGERS ST. JOHNS 



stoiw for Marie Dressier, he 
wanted her to write imme- 
diately a new story for 
Marion Davies, and there was, too, that idea for Clark 
Gable. What was all this about a leave of absence? 

"You had a three-months' vacation in Europe with 
Marie Dressier just a little while ago," 3aid he. 

The great lady — a famous producer told me not long 
ago that if he had his choice of all the contracts in 
Hollywood he would rather own Frances Marion's — 
fidgeted, squirmed, and finally it came out. 

She wanted a leave of absence to write and supervise 
a new story for Mary Pickford. Nothing could shake 
her. She wouldn't sign a new contract with M-G-M, no 
matter what the salary, no matter what interesting 
assignments they had for her, no matter how much she 
adored working with Mr. Thalberg, unless Irving would 
let her do this one thing first. 

And Irving, being an exceedingly wise young man 
and well used to handling the vagaries of genius, agreed. 

The New Movie Magazine, August, 1932 



Continuing — 

EDGAR WALLACE'S 
Hollywood Diary 




Editor's Note: Edgar Wallace, famous English 
author, playwright and sportsman, writer of HO novels 
with a sale of more than 5,000,000 copies a year, arrived 
in Hollywood December -4, 1931, on a short-term writing 
contract with Radio-Keith-Orpheum pictures. Each 
day until sudden death from pneumonia he wrote a let- 
ter to his wife in England; these letters she kept as his 
Hollyioood diary. . . . The first instalment of these, pub- 
lished last month, tells of Mr. Wallace's arrival, his 
leasing a house, his preliminary toork for the studio 
and some of his social activities. Now take up his diary 
at its most interesting part. 

Tuesday, 22nd December, 1931. 

I WORKED till quite late last night and was up 
early this morning. I have promised to do the 
scenario for the new story for Merion Cooper by 
12 o'clock tomorrow, and only a bit of it is done. 
As I have told you, we did a little on Sunday night. 
My ambition, which may not be realized, is that the 



Hubert W. Coburn 

Edgar Wallace, in his Hollywood home, dictating to his secretary, 
whom he always affectionately refers to as "Bob." The table at 
which Mr. Wallace is shown sitting is the one referred to in his 
diary as having been sent out to him by the studio officials. In the 
rear is the gas-and-wood fireplace that intrigued him so much. 

film I have made, roughly designed for Constance Ben- 
nett, will be directed by me. There is a possibility, of 
course, that as she is such an important and expensive 
star, they may choose one of the better-known direc- 
tors. But that's my secret ambition, and I whisper it 
into your ear so that I may have all the sympathy if it 
doesn't come off. 

Wednesday, 23rd December, 1931. 

I TOOK the scenario down to the studio, where I was 
interviewed by the Variety correspondent, a decent 
fellow called Fred Stanley, and, having handed the 
story over to Cooper, I met him an hour later at lunch 
in the restaurant. There was a little bit about a 



The New Movie Magazine, August, 1932 



■21 




28 



The New Movie Magazine, August, 1932 




The New Movie Magazine, August, 1932 



29 







Robert (his valet) 
showing the 



missionary which he thought might 

not get past the Will Hays office, 

but Cooper said it was the most 

powerful story of mine he had 

read, and the seduction scene (!!!) 

the best he'd ever read. I then went down to the 

animating room, where they are working on models 

for a prehistoric story, the 'script of which I am going 

to write, as I think I told you. 

Thursday morning. 2Uh December, 1931. 

1DID no work last night. Bob and I went down to the 
Brown Derby and had some coffee. It was very beau- 
tiful to see the illuminated Christmas trees. As I think 
I explained to you, they decorate not special Christmas 
trees, but fir trees that are already growing in front 
of the houses. Some of them are thirty feet high, and 
they look wonderful with thousands of lights on 
them. 

Where they haven't trees they decorate their win- 
dows or balconies or porches, and there was quite a 
procession of cars from Los Angeles moving slowly 
down the road, evidently doing all the drives and ad- 
miring the trees. There was also a group of Christmas 
carolers, and tonight ten thousand of them are going 
out to sing, in small parties. 

This morning I got your wire, and at about 8:45 put 
through a call to you, being quite under the impression 
it was Christmas Day. It was not until the call went 
that I realized I had slipped a cog. Exactly half an 
hour after the transatlantic service called through and 
said they had got you and they were putting me 
through. It was grand to hear your voice, and Penny's, 
of course, was as clear as in the proverbial next room; 
so was Pat's. Michael was a little booming, but even- 
tually I heard him. I gather he was one large grin 
and therefore incapable of being coherent. 

It was very odd to hear you were going to have din- 
ner in bed, whilst the remains of my breakfast were 
on the table. In fact, at this very moment I am drink- 
ing the coffee that was poured out before your call 
came through. 

Thalberg and Norma Shearer asked me to go to din- 
ner on Christmas night and go on to a grand opening, 
but I had already refused an invitation to dinner at Guy 



"They took some pictures outside of the 
house — Bob (his secretary) and me, with 
the background, 
se itself." 



cook is much too 
wonderful that I 



Robert W. Cnbi 



Bolton's. I wanted to have dinner 
at home quietly. 

Today I am lunching with Bay- 
ard Veiller on the M-G-M lot. 

I am sorry to tell you that my 
good; the food she prepares is so 
simply can't refuse it; but I am 
limiting my breakfast. This morning was a typical 
one: prunes and a few slices of bacon. 

I am devoting today to sentimentalizing "The 
Frightened Lady" and an article for the Sunday 
Graphic. 

The beauty of this work is that you can write a sce- 
nario and put your best into it, and you have a story, 
or rather the guts of a story, for serial and book pub- 
lication. I can go on doing this for a very long time, 
and of course I am working under ideal conditions in 
this delightful, lofty sitting-room. It is not magnif- 
icently furnished, but it is terribly pleasant. I am 
having the photographers up, and they are going to 
give me some snaps. (Editor's Note: These are the 
photographs shown in this issue.) 

I shall send this instalment of the diary off today. 
By the way, I have a wire from Michael Beary saying 
he left on the Majestic. I am afraid I shan't be able 
to put him up at 716, but I will take a suite for him 
at the Beverly Wilshire. He'll be here a fortnight. I 
never dreamed he would come at all. 

Later. 

I drove round to the M-G-M lot and met one of the 
executives, Mannix. They are all very nice. I lunched 
with Bayard Veiller. 

The M-G-M lot is terribly like- a factory, full of 
people running about in all directions, and bears a 
striking resemblance in some respects to a mad- 
house. 

I drove back through to Beverly Hills, went into the 
flower shop and spent money extravagantly. I sent 
roses to Norma Shearer; she asked me to dinner to- 
morrow night, but I wasn't able to accept. I sent 
another bunch up to Mary Pickford. Douglas has just 
returned by airplane from the east to spend Christmas 
with her. I sent some azaleas to Mrs. Cook, my land- 
lady, and to Virginia Bedford (Please turn to page 82) 



30 



The Hew Movie Magazine, August, 1932 



Photo by Predion Duncnn 










"Bird of Paradise" is the current attraction in which you see the bey all 

Hollywood is picking for a bright star — Joel McCrea. You see Dolores Del 

Rio in the same picture. Big, brawny, good-natured and likable, Joel is 

winning his way into American hearts. 



The New Movie Magazine, August, 1932 



31 



'■'.,/., i.u tnlRO Lifipman 




Loretta Young, the young and charming, has become a recognized fan favor- 
ite — whether the critics scold or praise. Her latest picture is "Week-End 
Marriage." Loretta has just built herself and her sisters a swanky new 
house — made from plans that Loretta drew herself. 



32 



The New Movie Magazine, August, 1932 



Photo by Hay Jonc» 





Whether in pictures or out of them, Tom Mix seems never to lose one jot of 
his popularity. Here he is shown in "The Good Bad Man." His next will be 
"Kings Up," with Lucille Powers as his leading lady. Tom's picture come- 
back has been in many respects remarkable. His public has not been fickle. 



The New Movie Magazine, August, 1932 



33 




Phntn hy liuKtfll Hull 



Jim Tully and Charles Bickford, photographed 
in front of the Brown Derby in Hollywood. 

Bickford and Thelma Todd, at Bickford's gas 

station opposite the Metro-Goldwyn-Mayer 

studios in Culver City. 



Fhidn hy ItUHKCll Ball 



34 



The New Movie Magazine, August, 1932 



JIM TULLY, himself a famous literary rebel, applauds — 

Hollywood's REBEL 



The human story of what 
happened to three hoboes 



HE is elemental as thunder, and gentle, at times, 
as dew on withered grass. His screen person- 
ality is greater than Garbo's. He proved it in 
"Anna Christie." 

No matter how far he goes as an actor, his person- 
ality will still be miles ahead. 

Not facile with moods, he must not be allowed to 
change too suddenly. An intuitive master of dynamic 
crescendo, he must move slowly toward diminuendo. 

He acts as easily as a tiger walks, and with the same 
terrifying power. He has never even touched the edge 
of his capacity. He would make a Danton to shake the 
guillotine, or disturb the clouds as Lucifer leading the 
fallen angels from heaven. 

His moods are as strong as primary colors, and with- 
out nuance. 

With less compromise than Cromwell, his sorrow is 
as real as Lear's. 

As Irish as the tail of Paddy's pig, he has the gifts 
of charm and laughter. He was born in Cambridge, 
Massachusetts, and lived his formative years in the 
average, uninteresting manner of a spirited boy caught 
in such an environment. He spent a year at the Massa- 
chusetts Institute of Technology. After that period, 
school and student gladly separated. 

As a boy in Cambridge he would start to school, his 
books under his arm, his mother watching. When 
school was out he would return, carrying his books. 
His mother, proud of her son's attention to his studies, 
met the principal of the school and thanked him. The 
good man gave the surprising information that her son 
had not been near the school in a month. 

At last, after the pleadings of his parents, the boy 
managed to get enough {Please turn to page 104) 



Photo by White Studio 




Photo by Rusiell Ball 

Bickford acts as easily as the tiger 

walks, and with the same terrifying 

latent power. 




The three Irish ex-hoboes— Jimmy Cagney, Jim fully and Charles Bickford, as they appeared in New York 
in 1926, when Tully's play, "Outside Looking In," in which Cagney and Bickford appeared, was produced. 

The New Movie Magazine, August, 1932 



35 



WHAT'S 



with this country? 




"Boy, you ain't seen nothin' yetl Bring on more beans. 



Our Hollywood Boulevardier Discusses Will Rogers, 
Garbo, Novarro, Garbo, Spanish food, Garbo and 



WILL ROGERS is almost as 
elusive as Garbo herself. His 



the Political Situation 



By HERB HOWE 



IT'S consoling to know that even Will Rogers can't 
joke about Garbo. 
Will confesses heroically it was his idea for Wally 
Beery to appear in female attire on the stage at 
the opening of "Grand Hotel" when the audience was 
expecting the Divine One in person. 

Wally was greeted with a sour silence. The next 
day Will wired all the papers that he was the villain 
who put Wally up to it. 

I'm not heroic enough to think I may have conveyed a 
similar idea in a recent Boulevardier. No, sir, I've suf- 
fered enough. I've learned my lesson. You can't joke 
about the deity. Not even if you happen to be a Buddhist. 



on. 
one, 



words are cash and he doesn't fling 
them around riotously for thieving 
writers to steal. 

I did catch a few the other day 
at La Golondrina. It was a swell 
close-up of Will with the feed bag 
He occupied three chairs at a table — his hat on 
his coat on another and his gum under the third. 
The waiter thought he was serving three people, an 
idea stimulated by the amount of food Will ordered. 
When the other guests failed to appear, the waiter in 
his soft Mexican voice said : "Mr. Rogers, if your 
friends don't come pretty soon their food will be 
cold." 

"No friends," said Will, scooping in the frijoles. 
"Food's mine." 

"But can you eat all this?" gasped the waiter. 
"Boy, you ain't seen nuthin' yet," said Will. "Bring 
on more beans!" 



36 



The New Movie Magazine, August, 1932 







Ramon demurred with Lindberghian modesty. Having been a publicity 
man myself, I took the side of the camera, and Ramon consented. 




TI/'ILL put over some good jokes in person at the 
v v opening of "Grand Hotel." He said it would prob- 
ably be the only hotel that would be filled this year. 
Also that the picture was part of Mr. Hoover's anti- 
hoarding campaign to bring out hidden money. "The 
box-office has even taken in some Confederate money." 
Will added. 

'TPHE 'Grand Hotel" premiere was the biggest event 
1 in years. Everyone was there except Greta. She 
listened to it over the radio and laughed. She's the only 
one who dares laugh at herself. And at that, if the fans 
caught her, she'd get a good bawling out, along with the 
rest of us atheists. 

"DADRINOS— Dolores del Rio e Ramon Novarro." 
1 This is the inscription, with autographs, on the 
first parchment page of the guest-book at La Golon- 
drina. 

This Mexican restaurant occupies an old adobe wine 
cellar in Olvera Street, Los Angeles. This street is the 
most charming bit of the city. 

The New Movie Magazine, August, 1932 



ustrations by Chamberlain 



Novarro introduced me to Senora de Bonzo, the 
hostess, who always addresses you in Spanish, though 
she speaks English fluently. 

The Mexican waiters are all orphans. Shyly beautiful 
girls and lithe cavaliers in native dress. 

"They are not waiters," the Senora explains. "They 
are hosts. I explained that to them when we started 
the place. I wanted this place to have the hospitality 
typical of a Mexican home." 

If you prove simpatica, you may have the privilege of 
meeting the kitchen boys. Warner Oland succeeded by 
posing as a Mexican. Warner owns an island off the 
Mexican coast and loves the people. 

Hearing the kitchen boys singing at their work, 
Harry Carr asked them to come into the dining-room 
and sing for us. They politely obliged, gazing fixedly 
at their toes throughout. 

The youth who served us had the grace and manner 
of a young prince, conversing with us as a host should. 
I learned he was an artist. His particular exhibit is 
a painting of padrino Ramon Novarro, of whom every 
Mexican is proud. (Please turn to page 90) 

37 



L. 




William Farnum, Priscilla Dean and Ralph Ince, left to right, were once big names on the screen. Now they 
play supporting roles. This is a scene from Monogram's picture, "The Law of the Sea." 

TheTown of Forgotten Faces 



Walking side by side with the stars 
of to-day, the favorites of yesteryear 
pass like shadows through Hollywood 

By RAMON ROMERO 

IN the skeleton closets of Hollywood lie broken 
dreams and dead careers and living corpses with 
forgotten names, the dust of age upon them. 
Names that will not accept the death of defeat, 
more like drifting flotsam — ghosts who were yester- 
day's stars. 

One meets them in the cold waiting- 
rooms of casting offices, in the small 
cafes, on the Boulevard. They are like 
a procession of the dead, marching 
wearily in one direction, while from the 
opposite comes the parade of Rolls- 
Royces carrying ermine-coated women 
and prosperous men who have taken 
their places — who have become the new 
darlings of a fickle public. They, too, 
to fall. 

They make me think of tired, maimed 
soldiers, back from the wars, with their 
hearts torn out and their souls scarred 
in the battle — the battle to stay at the 
top of the heap. What price glory? 01 l c 
And like the war veterans, these Blanche owe 
veterans of the screen who gave their wide favorite 
youth, all the beauty of their souls, all ago, is now 




the blood of their hearts, to the cause of entertainment 
and happiness for the world — are almost forgotten. 

Ella Hall! . . . Virginia Pearson! . . . George Hacka- 
thorne! . . . Mary MacLaren! . . . Mae Busch! . . . 
Francis X. Bushman! . . . Beverly Bayne! . . . Fay 
Tincher! . . . Alice Lake! . . . King Baggot! . . . Flor- 
ence Turner ! . . . Ethel Clayton ! . . . Names that wrote 
screen history over the world, personalities that drew 
long lines to the box office — great stars, lost in the 
infinity of- space, supplanted by the Garbos and the 
Gables and the Dietrichs. And when the Merry-Go- 
Round has whirled madly around once more will they, 
too, be phantoms? 

Theirs are faces no longer caressed by the bloom 
of youth — but what courage the lines 
in their faces spell! On the Boulevard 
one meets them and they lift their 
heads and smile as if nothing at all 
were wrong. 

And so we find them playing small 
parts, bits, some even extras, in sup- 
port of new stars who — who knows? — 
might have been beginners and extras, 
when they shone in all the glory of 
their stardom. 

It is no secret that Clark Gable was 
a Hollywood extra several years ago, 
playing one of the college boys in a 
series of Alberta Vaughn comedies. 
Today Alberta is not a star and Gable 
is Hollywood's newest and greatest 
sensation. Hollywood is like that. 

Ella Hall works in a dress shop on 
Hollywood Boulevard for a mere frac- 



Eliner Fryer 

et, a nation- 
of a few years 
in vaudeville. 



38 



The New Movie Magazine, August, 1932 



Remember Virginia Pearson, the famous 
siren of the screen? She organized her 
own company after a period of great 
popularity. Then she met with an accident 
which disfigured her face and kept her 
from further success. Shown here in her 
own prediction, "The Bishop's Emeralds." 



tion of what Universal paid her as a star. She 
has three children to support besides herself. 
They cannot undei stand that Mamma was once 
a groat movie star like Joan Crawford and Janet 
Gayncr. They were not yet born, when Ella 
Hall was a national favorite in Universal Pic- 
tures and thrilled audiences with her beautiful 
performances in such early masterpieces as 
"Little Boy Blue." And they are too young, too, 
to remember much about the lovely home in 
Beverly Hills that sheltered them but five years 
ago. 

Monroe Salisbury, virile ex-Universal star, 
once in the big money, is night clerk at a hotel 
off Vine Street. Fay Tincher, prominent com- 
edienne of the Sennett-Keystone and Christie 
comedy days, is cashier at a drugstore. Ethel 
Clayton, until a few months ago was selling 
beauty preparations under her own 
name at a store on Sunset Boulevard. 
Now she is working in pictures again. 
You will see her in "Continental 
Hotel," in which a newcomer, Peggy 
Shannon, is the star. The famous and 
lovable Maggie Pepper of the old 
Paramount days again sits and waits 
patiently for a new opportunity to 
carve a niche for herself 
in the talkies. And wait- 
ing, too, is Florence Turner. 

MAE BUSCH and Fritzi 
Brunette became mo- 
tion picture agents. Miss 



Alice Lake, shown here with 
Edmund Lowe in a scene from 
"The Cisco Kid," was once one 
of the screen's most beautiful 
and successful members. She 
rose from slapstick comedy in 
Roscoe Arbuckle's pictures to 
be one of the leading drama- 
tic actresses. 







Brunette is now managing J. Warren 
Kerrigan, the screen Apollo of other days, 
to help him stage a comeback. Miss 
Busch, acknowledged one of the finest 
dramatic actresses in the entertainment 
world, has been her own worst enemy. 
As an agent, attempting to secure work 
for others, she managed to get herself a 
job at the Hal Roach studios as leading 
lady for Charlie Chase and Laurel & 
Hardy. There is irony in that. The lady 
with the heavy heart who must cavort in 
slapstick fashion. Her hair has gone 
white — and she doesn't seem to care. 

.Francis X. Bushman, who admits that 
he made three million dollars in pictures, 
is somewhere in the Middle West playing 
stock engagements. The younger gen- 
eration, who are the fans of today, barely 
remember him. The glamour has almost 
completely faded from the once-illustrious 
name. And beautiful Beverly Bayne — 
she, too, is gone. Perhaps she has given 
up all hopes of a screen comeback, for 
Hollywood sees her no more. 

CHRISTMAS EVE I happened to be 
passing Magnin's exclusive gown shop 
on Hollywood Boulevard. Joan Craw- 
ford's swanky limousine drove up to the 
curb just as (Please turn to page 88) 



Mae Busch, once a name that 
packed them irr, is trying the come- 
back route by way of Laurel and 
Hardy comedies. 



The New Movie Magazine, August, 1932 



39 




George F. Canrwn* 

40 



The New Movie Magazine, August, 1932 



PLATINUM 

TURNS TO GOLD 



1 






By DORIS MANN 



AVERY young girl, trying her level best 
to act worldly wise and sophisticated. 
That's Jean Harlow. 

A lot to live up to . . . that platinum 
hair, for one thing. . . . The hard-boiled, hard- 
hearted bits of femininity she's played in pic- 
tures, for another thing. No one expects a 
snowy-haired, curved-mouthed wrecker of homes 
and breaker of hearts to be a quiet, rather shy 
youngster. . . . But she is. 

Jean's an amazing person to meet. You go 
prepared to talk to a brittle, disillusioned sort 
of person. You find a soft-voiced, almost bash- 
ful girl, who has crowded a world of experience 
into a few short years . . . but who is still very, 
very young. 

She wore a floppy white hat which she was 
constantly pushing back so that she could look 
straight into your eyes. That's one of Jean's 
strong points. Those gray-blue eyes have a 
level honesty. . . . Not at all the sort of droop- 
ing orbs which you might expect. 

Her dress was a knock-out. Green and white 
stripes running in odd directions. It was fasci- 
nating to watch when she moved. The stripes, 
I mean. She moved around a lot. Little girl 
fashion. Now sitting on one foot. Now cross- 
ing her slender legs. Now sitting straight and 
prim to talk. The green sandals with the high 
French heels exactly matched the stripes. And 
then there was the floppy white hat. She looked 
the way all girls wish they could look. And she 
seemed blissfully unconscious of looking that 
way. 

Her hair is silvery with a sheen. It's like no 
other platinum blonde hair in the world. It's 
thick and fluffy and still manages to look shin- 
ingly well-brushed. Her hands are interesting. 
Long, slender white fingers with the reddest of 
red nails . . . nails seem to fit the Harlow effect. 
She uses her hands to help her conversation. 
The nails glisten like vivid, crimson punctuation 
points. 

She looks exactly like a magazine cover. 
Every pose is a picture. An unconscious one. 
But talks like a sensible girl who's trying to 
make her way in the world. You know, regular 
girl-talk. No attempt at an impression or an 
illusion. 

VI/'ELL, she was born in Kansas City, the 

v * very heart of the middle west. Loves to 

talk about it. No slithering, silky cosmopolitan 

background. Just plain American, Missouri. 

She lived in a (Please turn to page 97) 



WeMI give you three guesses — Who is it? Right you are- 
Jean Harlow, her famous hair now a reddish-gold for her 
new part (on the left). And on this page you see her with 
her well-known platinum locks . . . How do you like her best? 



The New Movie Magazine, August, 1932 





The Little Girl From Kansas City 
who started out to be a platin- 
um blonde and has grown up 
to be a "Red-headed Woman." 

41 



Pkoli hy Brm -I A B<x hiai '. 







Lovely Ann Harding, seemingly untouched by her marital misadventures, was 
scheduled next to appear in "The Animal Kingdom," with Leslie Howard, fol- 
lowing her "Westward Passage." What a combination they would have 
made! But the Gods of the Studio changed their minds. 



42 



The New Movie Magazine, August, 1932 



Hon. OGRE 

dicktator of Hollywood 






1 



WALLACE IRWIN'S latest— and most 

hilarious — adventure of the Japanese 

Schoolboy in movieland 

To Editor Tower Mag., astronomy publication, who 
see stars every time it make a Hit. 

DEAREST SIR: 

I AST Wednesday a.m. Hon. Geo. F. Ogre, my pro- 
prietor, approach to me walking on new boots 
_j and frightfully pretty racehorse pants. He 
give me a meanie look, like Hon. Mussolini 
talking to a 2nd hand king. 

"Togo," he evaporate, "what you doing this morn- 
ing?" 

"Merely Gen. Housework," I collapse, knocking dust 
with a broom. 

"Well, stop it," he dib. "I got a little chore for you. 
For today I make you First Assistant Boss of 
Hollywood." 

"0 Mr. Sire!" I say that from my bent knees. 
"I are so worthless for that high up office." 

"Shut up till I open you," he revamp. "Now I 
shall tell you what for. Last night I dream a 
dream — maybe it was because I et too many olives 
in my cocktail. But Napoleon, under who I 
studied the emotion picture business, believes in 




NOTHING BUT 

GENIUS 
ALLOWED 




"I are the Master Mind that control the Foxes, the 
Zuckors and nearly three-quarters of the Warner Brothers 
... I have a plan to shake the wood out of Hollywood." 



dreams. So I shall folia my star." 

"I know a Frenchman," I corrode, "who come here 
last week and folia a Star till he was arrested." 

"That is neither here nor elsewhere," he snarrel. 
"My dream gave me a Original Idea." 

"What are a Original Idea?" I ask to know. 

"A Original Idea are another Original Idea served 
with whipped cream," he navigate. "My dream tell 
me that henceforthly I are Dicktator of Hollywood. 
Cumpared to me Hon. Will Haze are merely a statick 
in the Vast Raddio of Human Progress. You get me?" 

"All but your hat, Mr. Sire," I gollup. 

'""PHEN I shall explain onwards. This are my 
A vision. From this day the talkyphotoflim must 
have nothing but Stars in it. You know why? Please 
observe what Hon. Ed. Goulding, my defeated rival, 
have did wrth Aim-play (Please turn to page 111) 

Illustrations by Herb Roth 
"O, what can poor, weekly woman do to defend herself?" 






The Neiv Movie Magazine, August, 1932 



SUIT YOURSELF 

And so should you if you're the Karen Morley type, paying attention to details — so you can forget them 





B 



nonchalant." 

That's Karen Morley's fashion creed. 
In other words, Karen chooses her 
clothes with one effect in mind, a careful 
carelessness. 

If you think that's easy to do, you're all wrong. 
It's just as difficult, it requires exactly as much 
thought and attention, to achieve that appearance 
of smart indifference as it does to gain the ex- 
quisitely detailed perfection of Norma Shearer, 
for instance. 

Karen wants her clothes to play second place to 
her own personality. She is hoping that people 
will notice and remember Karen Morley, the girl, 
not the stunning dress or coat she happened to be 
wearing at the moment. 

But, in order to make the clothes secondary, 
they must be perfect in detail. One jarring note 
will attract the very attention which she is hoping 
to avoid. That's what makes the job of dressing 
to look like Karen Morley a difficult and interest- 
ing one. 

"I like pretty clothes. Every girl does," Karen 
explained, "but they have never held for me the 
all-consuming fascination which they have for so 
many girls and women. I do my shopping in 
spasms. I hate to buy things under the force of 
necessity. Sometimes I feel a sudden urge to 
have something new. The clothes which I buy 
when I'm in that mood are always the most 
successful." 



Short brown jersey sleeves 
are set into the white 
leather jacket, around 
which Karen Morley has 
built a smart golfing en- 
semble. Note the details 
in particular, the small 
brimmed, open weave hat, 
the white chamois golf 
gloves shown at the right 
and the white ghillies, 
trimmed in brown (spot- 
lighted above). 




44 



The New Movie Magazine, August, 1932 




(LEFT) Soft rose and blue mingle with beige and 
brown in the pattern of Karen Morley's smart 
printed tea frock. Her dress has an accompanying 
tie-at-the-waist jacket, and she has combined with 
it a beige wrap-around turban, shown at the 
left, brown gloves, purse and slippers. 



(RIGHT) For dining and dancing, and then the theater, 
— that difficult combination of engagements — the M-G-M 
actress chooses a floating white chiffon and lace gown, 
with a separate jacket. A close-fitting black lace hat is 
trimmed with velvet ribbons, and the white gloves at 
the right, and soft velvet purse complete the ensemble. 





The New Movie Magazine, August, 1932 



45 



Karen Morley expresses her individuality in costumes for informal moments 




From one extreme to the other — the feminine and lacy pajamas at the left are Miss Morley's choice for 
the boudoir, and the mannish and severe trousers and prison-striped sweater at the right — her garb 
for garden chores. The garden hat is of black and white woven paper. And in between, Karen models 
her Catalina swim suit, backless and brief, meriting the name of "native costume." A white crochet cap 
holds back her hair, and strapped wooden shoes are used for the beach walk. 



TT'AREN MORLEY is a unique type of femininity, 
-*^- even in Hollywood, which probably has seen more 
unique types than any other city in the world. By all 
the standards of screen beauty, she is not a beautiful 
girl. But she has something more than mere pretti- 
ness. She has a charm, a distinction, which sets her 
apart from other girls whose sole boast to attention is 
what the world calls beauty. 

And she dresses to enhance this differentness. 

So, if you're the Karen type, or a similar type, do 
as she does. In one brief year she has made herself 
into one of the best-known and most sought-after of the 
younger screen players. And she doesn't underesti- 
mate the value of clothes in accomplishing this. 

"I never will believe that clothes make the woman," 
she laughed, "but I do think that they are a great factor 
in helping her to make herself what she wants to be. 
My advice to girls who really want to make their clothes 
fit their personalities is never to buy things in a mad 
rush. Set aside a definite time, a day when you're 
feeling clothesy, if you know what I mean, and select 
your dresses and hats and things carefully. Don't buy 
them on the spur of the moment, only to hate them the 
next day when you realize that they're not what you 
really want at all." 

Karen is a tall, slender blonde. She is the sort of 
person whom writers love to describe as "willowy." 
She looks always as if a strong wind would cause her 
to sway gracefully. She walks with the slow effortless 
ease which is a part of that kind of personality. 

She is five feet four inches tall, just the right height 
for a perfect dancing partner or a speedy tennis oppo- 
nent. She weighs one hundred and nine pounds. And 
she is that most envied of all human beings, a girl who 
doesn't have to diet. On the other hand, no matter how 
many milk shakes or pieces of cake, oozing with rich 



chocolate, which she may eat, she never gains so much 
as one little ounce. 

IT'S easy for Karen to buy clothes ready made. Her 
*■ measurements are in almost perfect proportion. So, 
because she hates fittings and spending all the time 
necessary for having things made to measure, she al- 
most invariably selects her dresses in the ready-to-wear 
shops. Her bust measures thirty-two inches, her waist, 
twenty-five, her hips thirty-five. 

Naturally, following her own particular vogue of a 
youthful nonchalance, Karen goes in strongly for sports 
togs. She loves one-piece dresses in some knitted mate- 
rial or in a rough, soft, tweedy stuff. With these out- 
fits she usually wears a long, loose coat, almost invari- 
ably white, and a scarf knotted loosely around her 
throat, matching in color the shade of the dress. 

Because her hair is a light-golden brown and her eyes 
a deep hazel, and because her skin is that creamy white 
which matches the hair and eyes, she wears pastel 
shades exclusively. Never does she choose a brilliant, 
vivid color, no matter how tempted she may be by one 
of the delicious shades which saleswomen dangle before 
her. Sports clothes, evening gowns, street dresses, all 
her clothes for all hours, are softly tinted garments 
which blend into the delicate colorings of her skin. 

For street wear Karen manages to effect a happy 
combination of femininity and severe tailoring. Her 
suits and dresses are neither one nor the other, but 
both. Always the lines are simple and unbroken. They 
are fitted to her slender figure, neither closely nor 
loosely, just with that desired degree of apparently 
careless nonchalance. 

Karen always has in her wardrobe two or three soft, 
printed afternoon gowns, to wear for tea or luncheon, 
dresses which may carry on (Please turn to page 101) 



46 



The New Movie Magazine, August, 1932 





Mitzi Green Selects a Summer Wardrobe 

The more conservative and simple her clothes are, the better 
I I -year-old Mitzi Green likes them, for she knows the rules of 
chic for the younger set. Even the party dress she is wearing, 
above, is restrained and smart in its simplicity. Quaint flowered 
organdie, with a frilled flounce, shawl collar and puffed sleeves, 
would make a charming dress for any girl in her early 'teens. 
The garden hat is of flesh-colored organdie. The costume comes 
from B. Altman, New York. 

The smart blue linen dress, shown in the upper corner, has a 
separate guimpe of linen mesh, and Mitzi is carrying a picture 
hat with a rough straw brim and collapsible crown of silk 
jersey. From B. Altman. For the beach, Mitzi chooses slacks 
like the ones at the left, from Peck and Peck. She wears them 
when resting between pictures as well as when playing. These 
jersanese beach pajamas are of light and dark blue, and fea- 
ture the new talonette slide fasteners on shoulders and hips. 



The Neiv Movie Magazine, August, 1932 



47 




HEBE DANIELS SAYS: 

No parent has the right to dictate 
arbitrarily what a child's vocation should 
or should not be. 

Naturally, Ben and I hope thai Burba rti. 
will curra on in motion pictures, a pro- 
fession which has brought us much happi- 
ness and of which we arc justly proud. 

As my mother's encouragement and 
guidance helped me in my early days, so 
I hope to help Barbara. 

Keystone-Undsrwood 



y< 



Marcm Adams Phot 

JULIETTE COMPTON SAYS: 

// my daughter displays remarkable talent 
when she is grown, then, of course, there is 
nothing else to do but aid her in a career. 
I would much prefer for her a social career. 
There she ivould find the activity and glamour 
that make stage and picture work fascinating, 
and enjoy the advantages of a home. . . . 

(Above: The first picture of Jidictte Comp- 
ton and her daughter, Juliette Mary Bertram, 
ever published.) 







Would You Put YOUR 
CHILD in Pictures? 



by DOROTHEA H. CARTWRIGHT 



ARE they normal — that small girl who warms your 
/\ heart as you watch her on the screen — that 
J \ "real boy" who reminds you of the kid next door 
or your own mischievous young brother? 

Can motion picture children be normal when they 
keep business hours — nine to five, and an hour off for 
lunch? When they are paid sometimes fabulous sal- 
aries for living in a world of make-believe — for 
dramatizing the natural emotions of childhood? 

Can those small stars be normal who live in luxurious 
hotel suites instead of homelike bungalows, constantly 
waited on by servants? 

When they are "masters of ceremonies" at $5 
premieres and "judges" of dancing contests — they, who 
have yet to attend their first grown-up party? 

Can these children be normal with the eyes of the 
world upon them when they work and play, eat and 
sleep? 



pOR years Marian Mel, of Hollywood's Central Cast- 
-*■ :ing office, has registered thousands of children, from 
babes of a few weeks to high school adolescents. Part 
of her duties consists in visiting the studios to watch 
the children's work and deportment. 

"The motion picture child is far above normal," she 
told me with conviction. "A working permit is not 
issued unless the child's school report is at least aver- 
age. Usually it is far above. If at any time children 
fall down in their lessons their working permits are 
revoked." 

There is another reason why motion picture children 
are superior, according to Miss Mel. They must be 
one hundred per cent fit, physically, or they are not 
allowed on a studio set. The "normal" child may have 
tonsils that should have come out long ago, or teeth that 
have been neglected. But if a motion picture child 
needs bodily repair of any kind, he is not permitted 



48 



The Neiv Movie Magazine, August, 1932 



inside a studio until it has been 
done. 

Motion picture children simply 
must be better behaved than the 
"average" child. The spoiled 
youngster seldom gets farther 
than the waiting room at Cen- 
tral Casting. Studios cannot be 
bothered with ill-mannered chil- 
dren or those who are not trained 
to cheerful obedience. 

"Of course," she admits reluc- 
tantly, "any child who receives 
attention becomes self-conscious. 
A large percentage of our children 
are being given special instruc- 
tion — dancing, singing, instrumental music, foreign 
languages. Any emphasis on a child for exhibition pur- 
poses which sets him apart from other children in the 
neighborhood has a tendency to make him or her ab- 
normal. But this is a problem for the parents to 
correct." 

INURING his many years as a successful director, Al 
*-'' Santell has repeatedly used children in his pictures. 
As sixty children were employed in "Daddy Long Legs," 
I thought he ought to know something about them. 
Does he? 

"Motion picture children normal? They certainly 
are not!" he declared vehemently. "You hear about 
their being so advanced mentally. Sure they are. But 
I ask you — can you call a child of four or five normal, 



Are film children normal? 
Do they live the right sort 
of lives? Do you think 
their parents should per- 
mit them to act? What 
will become of them when 
they grow up? 



when he has the mind of a child of 
twelve? That's plain precocity. 
And I, for one, don't like it!" 

He went on to tell me that 
when he was casting "Daddy 
Long Legs" he asked his brother, 
who assists him, to go out and 
bring in some two hundred chil- 
dren, virtually "off the streets." 
With only two or three exceptions 
the youngsters in the picture had 
never faced a camera. Director 
Santell interviewed each child 
himself. He told me : 

"You'd be amazed at the differ- 
ence between the normal child and 
the one who works in pictures. Each youngster was 
shown into my private office alone, and I tried to lead 
him into talking about the things that interested him, 
just to get his reactions. The kids from average 
homes talked naturally, about their games and play- 
mates. No posing to them — no attempt to show off, or 
to make any more of an impression on me than on any 
ordinary friend of their family. But the picture chil- 
dren !" Mr. Santell raised his hands expressively. 

"Here's one of the things that happened — and you'll 
hardly believe it. The door opened, and in walked a 
youngster who wasn't any bigger than that." Santell 
measured about thirty inches. "Under his arm he 
carried a book as big as himself. Instead of sitting 
down, he marched over to my desk, pulled out the low- 
est drawer to stand on, so (Please turn to page 106) 



ANN HARDING SAYS: 

The right of each human being to individu- 
ality of thought and action is a sacred creed 
with me. If anything fine is to be gleaned 
from life, it can only be accomplished by each 
man or woman planting his or her own two 
feet firmly on the road which seems best. 

If Jane vjants to be an actress, I will do all 
in my power to help and train her. I would 
consider it my great privilege to do whatever 
I coidd to further her ambitions. 

International Photo 




International Photo 



JOAN BENNETT SAYS: 

Would I put my child into the movies? 

I don't like the idea of children being in pic- 
tures. I do not think it is healthful. Another 
thing, it makes them too conscious of them- 
selves. 

At eighteen, if my little girl would LIKE 
to go into pictures, I would assist her as much 
as I could. 



& 



The Neio Movie Magazine, August, 1932 

L 



49 



s RADIO Going the 
Way of the Movies? 



By K. TRENHOLM 

New York Radio Critic and Columnist 




Eddie Cantor is reported to be receiving $4,000 a week 
for his radio act. 



Can it be kept clean, wholesome 

and free, untouched by any breath 

of scandal? 



IS radio going Hollywood? 
It was along about 1926, when radio broadcast- 
ing was merely a lusty infant in swaddling clothes, 
that the head of one of radio's largest companies 
confidently remarked to me : 

"Radio goes into a million homes; it is a service to 
the public — it must be a welcome guest in any home 
it is privileged to enter; it must be a public service 
well performed." 

Noble words, those? Yes, but be it recorded to the 
glory of radio history that the men who started the 
ether waves to crooning were sincere in their inten- 
tions. They made the efforts — are making the effort — - 
to keep radio all that, and more — but will they suc- 
ceed? Will they withstand the clamor? 

Are the stupendous salaries paid to the stars of 
filmdom to be rivaled on the air? 

In a word, can a handful of conservative business 
executives, used to dealing with efficiently organized 
industries and their armies of trained clerical automa- 
tons, hope to control the tempestuous temperaments in- 
volved in a new artistry which has drafted its members 
from all walks of life? 

From 1921, when Station KDKA, of Pittsburgh, 




Morton Downey can be called "radio- 
made," although he has appeared in talkies. 
How long will his success continue? 



50 



Even "Amos V Andy," with everything that Hollywood could give 

them, could not in any manner parallel their radio popularity in the 

films they appeared in. 

The New Movie Magazine, August, 1932 




^ 



Bing Crosby, radio-made, is also one of the 
present high-salaried musical stars of the air. 



Kate Smith talces no chances on her future. She 

knows the public to be fickle, her popularity 

transient — so she has saved her winnings wisely, 

and invested. 



announced that its first attempt to trans- 
mit sound through the air had met with 
success, to the present, radio broadcasting 
has been what President Hoover would 
term, "a noble experiment." Controlled 
from the outset by organized business of 
the bigger sort, the baby industry was 
cherished and nurtured according to the most advanced 
scientific methods of industry building. Ten short 
years later it was paying out $20,000,000 to talent 
alone in order to entertain its 60,000,000 audience. 

A salary of $10,000 a week for hard work and long 
hours on a Hollywood lot pales into insignificance be- 
side the same figure paid for fifteen or thirty minutes 
of song and prattle once or twice a week in a radio 
studio. Al Jolson has put this price, it is said, on his 
own head as a radio headliner and at this writing there 
are reports of several sponsors angling for the privilege 
of presenting Mr. Jolson — this, despite the fact that 
Hollywood's "Danny Boy" already has two radio "mis- 
adventures" checked against him. 

Eddie Cantor is reported to be receiving $4,000 
weekly for his radio act. Rudy Vallee, radio-reared, 
rose from a $25-a-performance crooner to the thou- 
sands-a-week class in hardly any time at all, while of 
course the black-face comedy team of Chicago was a 
purely local attraction before stepping into national 
limelight to the tune of half a million a year. 

Kate Smith, Morton Downey, Bing Crosby and Russ 
Columbo, radio-made stars, are all drawing top pay 
at present, although how long their popularity will 
last no one dares predict. Drafted from the Fourth 
Estate are "Believe-it-or-Not" Ripley and the gossipy 
W. Winchell, who have found radio very much worth 
while. Also Floyd Gibbons, Frazier Hunt and Lowell 
Thomas. 

Broadcasters have found that radio can afford big 
stars at big salaries. 

AS for keeping radio clean, wholesome and free from 
■^ scandal, the broadcasters have been more success- 
ful in this than in the matter of keeping salaries down. 
As a whole, the industry has miraculously escaped the 



penalties of open scandal within the ranks of its 
artistry. Only one of its celebrities has been dragged 
through a sensational divorce with resultant "love- 
nest" headlines in the tabloids. Radio is still shocked 
by the experience. 

But here, too, the tide is beginning to turn. 

Radio has developed its own fraternity of newspaper 
columnists and they are kept busy day by day trying 
to make broadcasting a timely topic. A few of them, 
envious of the more colorful publicity handled by the 
theatrical and motion picture writers, are resorting to 
all sorts of tricks to make radio seem quite naughty. 

Studio gossip is disguised only so as to come within 
the safety zone of the libel law and be printed as news. 
And the rank and file of radio personalities fight to get 
their names included in these columns in a way that 
would put to shame Hollywood's brotherhood of press- 
agents ! 

The broadcasters themselves are developing news 
bureaus in open competition with the newspapers. Both 
national network companies maintain their own corps 
of reporters and news editors. The amount spent an- 
nually on broadcasting news events is tremendous. 
The publicitv department of one company alone spent 
more than $500,000 in 1931. Can Hollywood match 
that figure? 

AS for its amateur rating, of which radio was proud 
in 1926, it is no more. Radio is turning profes- 
sional just as fast as it is able, and each new step in 
that direction is hailed as a great achievement. One 
of its greatest handicaps, broadcasters agree, is its 
lack of professional showmen and properly trained pro- 
gram directors. And with few exceptions radio must 
still rely upon amateur writers for scripts and con- 
tinuities. (Please turn to page 99) 



The New Movie Magazine, August, 1932 



51 




Blonde and shapely Gloria Stuart, former art student, was spied by Carl Laemmle, Jr., acting at 
the Pasadena Playhouse, tested by both Universal and Paramount, finally awarded to Universal 
by a Board of Arbitration — and now you see her in "The Old Dark House" and "Air Mail." 



52 



The New Movie Magazine, August, 1932 



Movie Cook-Coos 



\ 





By 
TED COOK 

The Famous Humorist 

A Gal who lives a life of sin 

Upon the motion picture screen 

(As long as she's the hero-ine) 
Is pardoned in a later scene. 




WHILE filming "The Truth About 
Hollywood" at Radio, Director 
Cukor put in a call with Central Cast- 
ing Bureau for thirty-five extras with 
previous screen experience who would 
work for eight dollars a day. 

They sent him twelve former leading 
women, eight ex-directors and four 
performers who, in better days, had 
been starred. 

And that is the bitter Truth About 
Hollywood. 

ANYWAY, in her controversy with 
Paramount, Marlene Dietrich could 
feel reasonably certain that she had 
a couple of pretty good legs to stand 
on. 




THEY didn't laugh when Harpo 
Marx sat down at the piano — they 
almost wept. Their eyes popped out 
and their hearts stopped beating. 

Here's what happened. For weeks, 
Irving Caesar, composer, and Al Jol- 
son had been working behind locked 
doors in the Jolson bungalow, writing 
the music for Jolson's new picture. 

Harpo, who happened to be visiting 
the United Artists lot, heard Caesar 
playing. So Harpo sat down outside 
the bungalow window and memorized 
the tune. 

A few minutes later half a dozen 
studio bigwigs knocked at the door, and 
Harpo overheard them say that Caesar 
and Jolson were ready to let them hear 
the song hit for the 
picture. Harpo fol- 
lowed the visitors 
into the bungalow. 
There was an awk- 
ward moment or two, 
because Caesar and 
Jolson didn't want 
some one from Para- 
mount studios to hear 



"What a nice club this 
is after Stewart leaves. ' 



The New Movie Magazine, August, 1932 



their music. So they waited for Harpo 
to go. 

Instead of leaving, Harpo chattered 
about the swell tune the Marx brothers 
had for their next picture. "Just let 
me play it for you," he urged. Then 
he sat down at the piano and played, 
from ear, the Jolson picture hit song. 
And made a quick exit. 

A gal may sink to levels low, 
A sinner grave she may be made 
out; 
But she'll be washed as white as 
snow, 
My lads, before the final fade- 
out. 

"TF I can't write something good 

A about Hollywood, I won't write 

about it," says Nina Wilcox Putnam. 

Most writers don't feel that way. 

They know if they don't write some- 
thing bad about Hollywood, they won't 
eat. 

Perhaps it's just as well. Most 
of the good things written about 
Hollywood are pretty bad. 

THE West Side Asthma and Rising 
Club meets every Tuesday noon 
in an upstairs room of Levy's Tavern 
in Hollywood. Groucho Marx is the 
{Please turn to page 94) 



53 



PARIS -HOLLYWOOD 











Evgene Robert Richee photo 



CLAUDETTE COLBERT answers the Paris edict for shorter hair by 
having hers shingled at the back, allowing the sides to remain 
slightly longer. Claudette says she may even go in for the bangs 
Paris is showing this season, now that she's exposed her hairline 
in the back. How do you think the new style looks on her? 



54 



The New Movie Magazine, August, 1932 



Will American women accept the New French hair style 
— or will they do what the movie stars are doing? 

By ANN BOYD 

SOME like them short, and some still cling to long locks. 
Hollywood, undividedly in favor of the long bob for many seasons, 
has split on the question of the new Paris shingle. 

For one thing it's the first time in a long time that outsiders have 
attempted to set hair fashions. The movie legion has ruled on coiffure 
questions since Garbo first appeared in shoulder-length tresses. The 
Garbo long bob, the Gaynor "delicious" haircut, the Harlow platinumade 
set the standards. 

But Paris, tiring of long locks, has made a decided campaign for the 
new cut, with the result that part of the movie colony has followed suit. 
And New York has fallen an easy victim. 

Two lengths were suggested by Paris — one showing the feather edge 
or natural shingled hairline at the back, with the sides thinned out and 
curled up toward the front. Joan Bennett has chosen that cut and allows 
her hair to fluff out a bit at the sides instead of lying in flat scrolled 
curls as in the Paris version. Claudette Colbert's bob is similar except 
that she waves her hair toward the 
back. 

The other Paris length calls for 
short hair at the sides and a slight- 
ly longer cut at the back, with the 
hair coiled up in tight flat waves. 
Tala Birell wears that type. 

Janet Gaynor has combined both 
of these cuts for a fluffy, wavy, 
short-haired effect. 

I asked a number of the stars 
what they thought of the new styles. 
And this is what they told me: 





TALA BIRELL, Universal's Vien- 
nese star, says: "I like the new hair 
line very much and have already 
adopted one of the severe coiffures for 
evening! In the morning, it is better 
to modify the arrangement as that 
"shellacked" appearance is difficult to 
maintain when one enjoys any vigor- 
ous sports. 

"My reasons for liking the new bobs 
are three. First, because it is easier 
to manage the ends of the hair when 
they are just long enough to roll over 
a curling iron or finger. No woman 
realty likes very short bobs . . . they 
hate having the neck shaved! Second, 
I like them because I love Greek sculp- 
ture . . . the new coiffures are not be- 
coming to everyone, and, therefore, are 
distinctive. They set off one's features 
and the contour of the face and head to 
perfection!" 



Hurrell photo 

JOAN CRAWFORD: "Always I 
have admired the short-cut bob, which 
is now coming into new and general 
favor. It combines youth, convenience 
and smartness. It is not becoming to 
me. Therefore, I haven't adopted it, 
but I do like to see other women's hair 
dressed in this way. The long lines 
of a medium-length bob seem to fit the 
contours of my face and head more 
becomingly than does the short close- 
ness of the new style. However, for 
street wear and with the small up- 
turned hats in vogue this season, I 
brush my hair closely against my head 
to achieve that smooth line so neces- 
sary for smartness." 

JANET GAYNOR has luxuriant hair 
of a rich copper brown. It lends itself 
admirably to the new brushed-back 
style which reveals the hairline. 

Since her return from Paris, where 
the short bob is in vogue, she has had 
the "Delicious" bob, which swept the 
country like wildfire last winter, modi- 
fied somewhat. About two inches has 
been cut from her hair, and the bangs 
have become almost extinct. At either 
side of her face her hair is now brushed 
straight back, showing the _ hairline. 
Her hair is parted on the right side 
and falls into its natural wave all 
around her head in horseshoe shape. 
The ends of the hair are finished in in- 
numerable curls that roll upward, 
youthfully. The whole effect is that of 
a head well-groomed, with the hair 
artfully arranged. 

It is a charming style and vastly be- 
coming to Miss Gaynor. While giving 
a certain sophisticated effect, it brings 



out all the young wistful beauty of her 
countenance. 

She is undecided whether to continue 
indefinitely to wear her hair in this 
style. But she felt she wanted a 
change, since she has always worn her 
hair long — a good shoulder-length. 





JOAN BENNETT had her long bob 
cut to the shorter length, revealing the 
hairline, for her wedding to Gene 
Markey. She says: 

"I was rather tired of wearing my 
hair long, and so had it cut and ar- 
ranged as you see it now. There is 
nothing revolutionary about my doing 
it. Just for a change, that's all. If 
you would like to copy it, perhaps I 
can give you some pointers on the 
subject. 

. "The part is low and I make it on 
the left side. This gives me an oppor- 
tunity to make an unusually wide first 
wave on the heavy side of the hair. 
On the right side, the first dip is over 
the temple. On the left side, the hair 
is brushed back to show the hairline, 
and, incidentally my ear. In the back 
the neckline shows from ear to ear. 
Across the back of my head my hair 
is waved in what is called the swirl — 
on a slant, as it were." 

This style is certain to find favor 
with the younger set. It is attractive 
for both formal and informal wear and 
is a decided change from the shoulder- 
length bob. The charming thing about 
it is that there is nothing to give the 
appearance of hardness to the face — 
something always to be avoided in 
selecting one's hair arrangement. 
{Please turn to page 110) 



The New Movie Magazine, August, 1932 




Radio Rambles 




Jack Denny sometimes conducts his orchestra while he 
himself is being conducted by his sponsor. He was dis- 
covered playing at the Mount Royal Hotel in Montreal. 




Burns, of Burns and Allen, got his name from the coal 

company whose wagons he once followed to pick up 

lumps for the family stove. 



56 



Who's Who among the stars of the 
air — and What They are Doing 



THE earlier summer weeks have been full of road 
house and roof openings. 
One of the most colorful crowds turned out for 
Russ Columbo at the Woodmansten in West- 
chester. You could barely stretch an arm without 
touching an air favorite. 

Fay Webb was there with Rubinoff and Jack (music 
publishers) Robbins, substituting for Rudy who works 
nights in the "Scandals." Fay was all thrilled about 
her new Santa Monica home which she had not seen 
yet. She said moving to California was her own idea, 
adding: "You know, that's where I come from." And, 
if you could have seen the determined way she smiled 
when she said that, you'd have realized that she is 
used to getting what she wants. Or did you know that 
already? 

Jackie Osterman, the master of ceremonies, called 
Guy Lombardo, Smith Ballew, Jack Denny, Abe Lyman, 
B. A. Rolfe and Freddie Rich to the platform as a gag 
and made them play, with Yascha Bunchuk leading. 
Then Benny Rubin got up and said they were terrible — ■ 
which they were. Ethel Merman sang. 

Roscoe (Fatty) Arbuckle — he hasn't lost a pound — 
sang, too, and did the parody. And, finally, Russ 
stepped close to the microphone to say that you may call 
it madness, "A-h-h-h, but I call it love." 

Another all star band: A few nights before, Don 
Bestor opened at a New York hotel. Don travels around 
so much that his six-year-old daughter hasn't had two 
birthdays in the same state. 

A crazy evening reached its peak when Al Wholeman, 
the vaudeville gagster, complained that he could not 
talk unless Jack Denny played the piano for him. 
Jack said he could not play unless Mrs. Jesse (Organ) 
Crawford accompanied him on the other piano. Then 
somebody spied Buddy Rogers coming in and handed 
him a trombone. In the meantime Arthur Jarrett had 
begun to sing. He sang one song, two songs, and was 
about to go into his third when, just in time, Abe 
Lyman, at the drums, handed him a guitar and told 
him to play. And so they all tried "Tiger Rag" more 
or less together. 

Every silver lining has a cloud: Then there was Guy 
Lombardo's farewell party at the Roosevelt. At mid- 
night, as the orchestra swung into the sentimental 
strains of "Till We Meet Again," three men entered 
carrying a huge horseshoe of flowers — a tribute from 
Guy's friends. 

Tears came to the band leader's eyes, and he was 
clearing his throat to speak when a lad with a little 
white paper stepped from behind the wreath. 

"Just a minute," he said. "Here is a summons for 
you." 

It was from a Philadelphia company which says that 
a long, long time ago, Guy promised to record ex- 
clusively for them. 

She loses a bet: Sylvia Froos had to make a box of 
fudge for each of Louis Silver's musicians at Columbia. 
She bet she couldn't reach high C, and she did. But the 
next Sunday at N. B. C, Brad Browne introduced her 
as a contralto, "because everything has come down 
since the depression." (Please turn to page 118) 

The New Movie Magazine, August, 1932 




Photo hy Schupaek 



Irene Taylor, of NBC, who sings the 

blues from the Edgewater Beach in 

Chicago, bids fair to become a national 

sensation very soon. 




Sylvia Froos, a vibrant personality, new 

to the radio, who bet a box of fudge 

she couldn't reach high C — and lost. 

And was glad she did — lose. 




I 



Photo by Wide World 




I"****? 




Grace Moore (above), up from musical 

comedy into opera and motion pictures, 

and now she's a radio star, too. 



Virginia Gardner (right) is the dramatic 
star you heard in "Death Valley Days." 



Dorothea James and Abe Lyman (left) as 

they appear in the Movie Star Revue — 

except that Mr. Lyman also appears in five 

other programs. 



The Boswell Sisters call on President Hoover. 
Here they are — Vet, Connie and Martha — 
with the Assistant Secretary of the Navy 
Jahncke, who entertained them during their 
stay in Washington. 




The Neio Movie Magazine, August, 1932 



57 







HONEYMOON 



HOUSE 



Where Lew Ayres and Lola Lane 
are planning the Great Future 



TIS said that the most accurate analysis of a 
man's character comes from his home — for there 
is man's domain, his kingdom where his heart 
rules and his nature is most clearly revealed. 
There is no doubt but that Lew Ayres' honeymoon 
home, high in the hills between Hollywood and Uni- 
versal City, reflects the character of this young star. 
Modest to the point of timidity, Ayres has always lived 
a quiet life. His closest friends say that Ayres would 
blush in the presence of the shrinking violet, for he 
consistently avoids the spotlight and all forms of so- 
called "show." 

A dreamer, a thinker and an adventurous boy at 
heart, Ayres is the hill-billie of cinelandia in a sense: 
he has always lived high in the hills, several hundred 



58 



(Above) A general view of the honeymoon house raken 

■from the west. High on the hills above Hollywood, this 

home, arranged on four terraces, reflects the modesty of 

its owners. 



feet up, always at the far end of some canyon where 
he might dream his life quietly and peacefully. Ayres 
is an active lad who mixes the ambitions of an 
astronomer, a chemist, a sculptor and a musician. 



B 



UILT on a slope, with huge boulders forming a 
unique feature of the four terraces of the fore- 
ground, the Ayres home has eight rooms, four baths 

The New Movie Magazine, August, 1932 



Another in the Series of 
Homes of the Stars 



Mi Photographs by RAY JONES 



and a second terrace patio, and is of French Normandy 
motif in white plaster and stained wooden exterior 
braces and finishing beams. 

Approaching the door, one climbs four sets of stairs 
of about fifteen steps each, then follows a winding 
walk of flagstones and arrives at the simple, heavy 
wooden entrance by a fifth set of steps. Stepping into 
the hallway, to the left is a breakfast nook, beyond it 
a kitchen with the latest electrical equipment. Beyond 
the kitchen is the dining-room, small, but sufficient for 
Ayres and his charming wife, Lola Lane, who shares 
her husband's views on a quiet home life. The dining- 
room features a Jenny Lind suite of heavy walnut with 
the buffet surmounted by a silver candle set and some 
rare glassware. 

To the right of the hallway is a spacious, well-lighted 
living room, twenty by twenty-six feet. A huge leaded 
Normandy window set in the south wall permits a view 
of Hollywood, stretching out several hundred feet be- 
low, with terraces covered with grapevines, wild 
flowers and stubby live oaks in the immediate fore- 
ground. At noon, the view is sharp, but in early morn 
and at sundown the city below becomes a phantom in 
misty tints. 

IN one corner of the living-room is a grand piano. In 
an opposite corner is a comfortable Norman lounge 
in old gold, to match the drapes at the window, and be- 
hind the lounge a table with a rare volume of Shake- 
speare, a book of woodcut prints, and a silver vase 
filled with long-stemmed buds. Against the east wall, 
on either side of the fireplace, are book racks which 
contain Ayres' unfinished library. 

Across the chimney of the fireplace are two fencing 
foils of Eighteenth century design which Ayres bought 
some years ago at a connoisseur's auction. Sprigs of 
English ivy are draped gracefully from a rare brass 
vase on the shelf built in the chimney. On top of one 
bookstand is a score of tiny German soldiers in tin — 
mere toys presented to Lew by Lola after their first 
meeting, when Ayres was playing the memorable Paul 
Baumer in "All Quiet on the Western Front." Those 
toys are precious decorations. 

Near the toy soldiers an old Spanish galleon in minia- 
ture rests at anchor, supported by tiny bracing pegs. 
The northeast corner of the living-room features a 
heavy, inviting arm chair matching the Norman lounge. 
Against the west wall a walnut secretaire, with a few 
small books, the Ayres household budget books and 
personal effects, provides the only piece of furniture 
except a straight-backed chair. Lighting fixtures are 
small wall brackets of modern design yet in perfect 
harmony with the furnishings. 

Returning to the entry way, one reaches the second 
elevation of the house by two sets of eight steps each, 
arriving at another hallway with an opening to the 
patio, about twenty feet square, with tiled floor, a 
built-in fireplace for barbecues and a table for out-of- 
doors meals, which gives an even better view of the 
1 grounds than the Norman window of the living room. 

A huge awning permits the patio to be covered in 
damp weather. At the end of the connecting hallway 




: 



Lew Ayres in his home. This Universal star, who 

made his first hit in "All Quiet on the Western 

Front," recently married to Lola Lane, continues 

to score in picture after picture. 



The New Movie Magazine, August, 1932 



59 




of the second elevation are more stairs, leading to the 
Ayres bedrooms and the guest rooms, all furnished in 
walnut, with walls of pale green and lilac and drapes 
to match. A glazed embossing treatment of the walls 
has produced an attractive design without employing 
changes of color. 



U 



P two more flights of stairs one reaches the fourth 
elevation of the house, the maids' quarters and 
Lew Ayres' workshop. Here Ayres has transformed 
a huge closet into a miniature museum of relics from 
the days of '49, pieces of lava, old muskets, pieces of 
ancient Navajo and Pueblo pottery, bits of quartz with 
gold streaks, bits of silver, a piece of quartz with 
amethyst crystals, and souvenirs from every picture 
in which he has appeared. 

In the main workroom is a figure of a wrestler, in 
clay, which Ayres is modeling in his spare moments. 
Near at hand an experimental chemistry set, a celestial 
globe for studying the stars and heavenly planets, a 



Southeast corner of the Ayres home, showing the dining- 
room window, the connecting hallway and the upper porch. 

View of the house from the east, showing the shrub- 
planted patio, rising high above its surroundings. 




60 



The New Movie Magazine, August, 1932 











36-inch telescope and smaller instruments for similar 
observations, and a portrait of Lola Lane in oil. (There 
is only one small portrait of Ayres in the entire house 
and only two framed portraits of Mrs. Ayres.) 

The walls of the workshop (when decorated) are to 
feature old pirate flintlocks, a few small furs and skins 
and possibly a bit of bas-relief of Ayres' own making. 

HpHE honeymooning Ayres have occupied their new 
-*- home only a few months and their principal interest 
has been to "settle" by degrees, with the first elevation 
attended to first, the sleeping quarters next, and then 
the workshop, after the grounds have been improved. 

The grounds around the house are dotted with 
flowers of many colors and species, verbena, roses, 
geraniums of many hues, azalea, tiny blue-green cacti 
with China red flowers which look like a package of 
firecrackers on a stick, hen and chickens, a sort of cab- 
bage plant with tiny flowering bells and a flowering 
cactus, growing on a huge boulder. 

Behind the house at the top of the hill are more 
boulders, live oaks, grapevines, peaches, apricots, 
pears and locquats. Italian cypress trees planted for 
ornamental purposes are enjoying a slow but promis- 
ing growth. Vines are beginning to creep along the 
tiny knolls like lines of green-clad soldiers on an Alpine 
slope, and pampas grass adds a touch of interest. Bam- 
boo, twice torn up and trampled down, refuses to die 
and in six weeks has grown at a rate of two inches a 
day, near the garage. 

Lew Ayres' home matches Lew Ayres. 



The Ayres living-room. The windows are Norman, 
the walls of white imitation flagstone, the furniture 
walnut and the drapes and couch of old gold damask. 




Lew's bedroom has small floor rugs, a 
of green with drapes to match, and 
walnut. The portrait of Lola Lane, hangi 
bed, is the only picture on the 



color scheme 
furniture of 
ng above the 
walls. 



The New Movie Magazine, August, 1932 



61 



PET ODDITIES 



of the Stars 







1 V, 


- 


' * L 


~ 



. 4f 
Photo 1,1/ Elmer Fryer 

JOAN BLONDELL 




*»-"*• 




* 



*h 



I'holi, ha Erneet .1. Dachrach 

ANN HARDING 



l'h„\u hi/ Clarence Sinclair Bull 

EDWINA BOOTH 




EL BRENDEL 



JOAN BLONDELL insists upon 
washing her teeth with peroxide 
once a week — but says she doesn't 
know why. Joan, by the way, 
is the girl that film producers 
couldn't see for pictures until she 
had made a hit on the stage — 
and look what the public thinks 
of her now. 



ANN HARDING has a fear of 
snakes that amounts almost to a 
phobia. She can't even stand to 
look at snakes in pictures — and 
the size of the snake makes no 
difference — little or big, poison- 
ous or harmless, it is still a snake 
to Ann. 



RAMON NOVARRO thinks that 
peacocks and anything that 
comes from a peacock bring bad 
luck — while Edwina Booth's favor- 
ite decorative schemes always in- 
clude peacock feathers. She 
rarely dresses in her most re- 
splendent best unless she has a 
peacock feather in the ensemble. 



EL BRENDEL will spend days in 
glee in front of the monkey cages 
in the zoo. And then he goes 
about for the rest of the days 
of the week trying to imitate 
their antics. Recently, while build- 
ing his new house, friends and 
neighbors worried lest El was put- 
ting monkey tricks into practice 
because of the way he scuttled 
up and down ladders like a born- 
to-the-jungle simian. 



They have their weaknesses, just as you have yours, 
according to HESTER ROBISON 



CALL them what you will, idio- 
syncrasies, superstitions, pet 
dreads — what they actually 
are is "idiosyncrasies." The 
susceptibilities or aversions to which 
they confess are as much a part of 
their real selves as your pet idiosyn- 
crasies are of you. Now — don't shake 
your head and say you haven't any. 
Of course you have. You'll probably 
find them somewhere here. Which of 
these is your pet weakness? 

Ever hear of anyone washing their 
teeth with peroxide and water? And 
not knowing exactly why? That's 
one of Joan Blondell's idiosyncrasies. 
She indulges it once a week. After a 
good look at Joan's practically perfect 
teeth — it might not be a bad idea. 

Mysticism and astrology have a de- 
cided influence upon John Barrymore. 
He consults the stars — so we've been 
told — before starting a production, 
and he awaits propitious times before 
casting them. Wonder which of the 
stars led him to select Dolores Cos- 
tello for a leading lady? Without be- 
ing sure we'll wager it was Venus. 

While we're on the subject of Mr. 
Barrymore, we can't help wondering 
what mystic power it was that advised 
him to be photographed from the left 
side with a pipe in his mouth — when 
he prefers to smoke cigarettes. 

T^VEN George Arliss has his weak- 
*-* nesses — even as you and I. He 
never authorizes anyone to write a 
statement for him, he's too afraid of 
being misquoted. We thought, when 
we learned that he never appears 



without his monocle, that we had dis- 
covered the only flaw in his distin- 
guished makeup. Then someone had 
to whisper in our ear that he smokes 
only gold-tipped cigarettes made es- 
pecially for him. 

Afraid of snakes? Then you have 
a companion in Ann Harding. Ann's 
distaste for snakes amounts almost to 
a phobia. She says it isn't an actual 
physical fear, but that just any sort 
of snake, even the harmless little gar- 
ter kind, makes her shudder. She 
has a horror of seeing them in pic- 
tures, and the reptile house of a zoo 
will never have. Ann Harding as a 
visitor. 

And writing of zoos, did you know 
that El Brendel can spend days in 
front of the monkey cages? He 
watches them and later on tries to 
imitate their antics. That used to be 
El's pet idiosyncrasy — but now it's 
his home. Since he's been building 
his new home El forgets and walks 
under ladders; another of his pet 
idiosyncrasies used to be concerned 
with the ladder superstition. 

James Dunn excuses his idiosyn- 
crasy — he abhors whistling in his 
dressing room — on the ground that 
he has a perfectly good reason for it. 
Jimmy — his friends call him that; — 
was playing in a show in Canada and 
having a swell time of it too — when 
some friends came into his dressing 
room and began whistling. Shortly 
after the whistling episode Dunn suf- 
fered severe injuries in a fall and in 
a taxi collision. Just try and whistle 
(Please turn to page 109) 



62 



The New Movie Magazine, August, 1932 




Hedda Hopper, professionally and socially one of the most popular figures in Hollywood. Poised, 

polished, likable, she represents the highest type of actress. Her latest picture is "Speak Easily," 

with Buster Keaton, Ruth Selwyn and Jimmie Durante. She recently played in "As You Desire Me," 

with Greta Garbo. She was once married to De Wolff Hopper. 



The New Movie Magazine, August, 1932 



63 



NEWS and PICTURES of 




Advance information on what the 



Roar of the Dragon — RKO-Radio: Gwili 
Andre and Richard Dix play the lovers in this 
dramatic film of war-torn Manchuria. The cast in- 
cludes Dudley Digges, Gregory Ratoff, Arline Judge 
and Edward Everett Horton. Directed by Wesley 
Ruggles. Marks the screen debut of Gwili Andre. 




! 



The Night Flower — Warners-First National: 
Barbara Stanwyck and George Brent, who were to- 
gether in "So Big," together again. This is adapted 
from the stage play, "The Mud Lark." Others in the 
cast are Leila Bennett, Hardie Albright, Murray 
Kinnell. Directed by William Wellman. 




Down to Earth — Fox: Will Rogers and his wife 
(played by Irene Rich) come home from a trip to 
Paris, and find that their wealth has done terrible 
things to them. So they lose it, and become their 
normal selves once more. The cast also contains 
Dorothy Jordan, Matty Kemp, Mary Carlisle; from 
story by Homer Croy. Directed by David Butler. 



64 



J i '< .. I if 

Tiger Shark — First National: Edward G. Robinson, 
as Little Portugal fisherman, sacrifices a hand saving 
Richard Arlen from the sharks. Zita Johann dutifully 
marries him, but she and Arlen are in love. Robin- 
son throws himself to sharks. Howard Hawks directs. 

The New Movie Magazine, August, 1932 



YrA 



FORTHCOMING FILMS 



Hollywood Studios are doing 




1 



One-Way Passage — Warners: The story of a 

■fugitive murderer, by William Powell, and a girl 
due to die of heart trouble, Kay Francis, their meet- 
ing, their love, and their ultimate separation. Di- 
rected by Tay Garnett, with Aline MacMahon and 
Warren Hymer in cast. 



Washington Whirlpool — M-G-M: From "The 
Claw," and with plenty of senators and diplomats, 
gold-braid, adventuresses, and Lionel Barrymore. 
Also, Karen Morley, Diane Sinclair, a screen new- 
comer, William Collier, Sr., C. Henry Gordon, and 
others. Directed by Charles Brabin. 




Cabin in the Cotton — Warners-First National: 
Richard Barthelmess — child of white trash, torn be- 
tween love for a patrician girl and one of his own 
kind — Bette Davis and Dorothy Jordan. Supported 
by Henry B. Walthall. Michael Curtiz directs. 

The New Movie Magazine, August, 1932 



The Challenger — Paramount: George Bancroft, 
as a hair-chested prizefighter who, on the down- 
grade, loses his roll, sees his manager, James Glea- 
son, shot in an attempted robbery — and then Ban- 
croft and Wynne Gibson reform and raise Gleason's 
young son. Directed by Stephen Roberts. Wynne 
Gibson's role is that of Texas Guinan in real life. 















65 



WHAT'S GOING ON IN MOVIELAND. All of the latest flashes 




Undesirable Lady — Fox: Frank Lloyd directing 
Elissa Landi, who plays an English girl stranded in 
German South Africa when the war breaks out, an 
unsuccessful marriage, and finally happiness with 
Melvyn Douglas. Being made on Catalina Island off 
the California coast, with every sort of water sport 
at hand. And they call it work! 



Forgotten Commandments — Paramount: Present- 
day Russia. Marguerite Churchill and Gene Ray- 
mond as peasants, Raymond comes to the city to 
study under the great surgeon, Irving Pichel. then 
Sari Maritza complicates matters. Incorporates 
scenes from Cecil de Mille's silent picture, "The Ten 
Commandments." Directed by Louis Gasnier and 
William W. Schorr, a Russian. 



The Murder Express — Columbia: A trainload of 
convicts, some reporters, police, five murders and 
a runaway train, with a murderer loose, give thrills. 
And with a cast consisting of Ben Lyon, Barbara 
Weeks, Kenneth Thompson, William V. Mong, 
Helene Millard and Nat Pendleton. Directed by 
Ben Stoloff. 





Rebecca of Sunnybrook Farm — Fox: A poor 
little farm girl straightens out all the problems of 
the town she visits, and incidentally falls in love with 
the country doctor. Marian Nixon plays the part of 
Rebecca, originally slated for Janet Gaynor. The 
doctor is Ralph Bellamy. Adapted from Kate Douglas 
Wiggin's famous novel. Directed by Alfred Santell. 
The cast includes Mae Marsh and Charlotte Henry. 




66 



The New Movie Magazine, August, 1932 



of the newest film-plays in production in the major studios 



Bachelors' Affairs — Fox: Adolphe Menjou enticed 
into marrying pretty, innocent Joan Marsh by 
Joan's scheming sister, Minna Gombell. Then com- 
plications. Others in the cast are Allen Dinehart, 
Arthur Pierson and Irene Purcell. From the play, 
"Fancy Free." Directed by Al Werker. 





Children of Pleasure — Warners-First National: 
Ruth Chatterton and George Brent in the picturiza- 
tion of Larry Barretto's novel. Supported by Paul 
Cavanagh, Lois Wilson, Hardie Albright and 
Henry Kolker. Directed by William Dieterle. All 
about a husband who stoops to blackmail his wife 
back to him — and succeeds. 



Skyscraper Souls — M-G-M: Warren William, 
Maureen O'Sullivan, Norman Foster, George Bar- 
bier, Gregory Ratoff and William Morris are in the 
cast. Directed by Edgar Selwyn. The story is of a 
great building, its joys and sorrows, the bank on the 
ground floor, the penthouse on the roof — and the 
fight for control that ended in death. 





Kings Up — Universal: Tom Mix gets himself mixed 
up with a ten-year-old European king while touring 
the continent with a wild-west circus. In the cast are 
Noel (Ziegfeid Follies) Francis, Finis (Miss Australia) 
Barton, Jim (famous Indian Athlete) Thorpe, F. 
Schumann-Heink, son of the opera star, Mickey 

Rooney and James Kirkwood. 

(Please turn to page 102) 



The Neio Movie Magazine, August, 1932 



C7 




Even at eleven he knew he wanted to be an actor, 
and his purpose never swerved. Every night, after 
work in the factory or the sawmill, he trudged to 
the public library to study Shakespeare and Dumas 
and Dante. This is the boy who grew up to play 
some of the most vivid characterizations in the 
films — and who is planning even greater worlds 
to conquer. (At right) As the cripple in "The 
Miracle Man." 



Dreams 



John Wray never had any 
other thought but to be- 
come a great actor 

By Jack Jamison 



A QUIET man sits in a room, not large, not 
luxurious, on the twelfth floor of a Holly- 
wood hotel. The windows face the south, 
and all day long the sun and the breeze 
from the sea sweep in. He is nearing middle age, 
his hair a little thin, his eyes very blue, his face 
kindly. Instantly, as you come in, you observe his 
hands — bent, broken, and scarred. You see then, 
too, that there are shadows in the blue eyes as well 
as laughter. 

Your main impression is one of kindliness, gen- 
tleness, shyness and all-inclusive love of mankind 
that shines out from him like a light. He has 
come up a long and rough road, and instead of 
turning him bitter it has made him gentle and fine. 
And this is the man who, in "All Quiet on the 
Western Front," took the part of Himmelstoss, the 
cruel and vicious sergeant who forced the boys to 
sprawl again and again in the mud; who in the 
blood and terror and courage of the trenches de- 
manded that they salute him. "You are the most 
hated man in Germany," Lil Dagover tells him. 

This is the man who, in "The Miracle Man," was 
the fake cripple, so horrible that he made your 
skin creep, and yet, somehow, for all that, captured 
your sympathy. 

JOHN WRAY was born in Philadelphia. Nobody 
•J can tell him anything about poverty. His father, 
a vagabond Irishman with a gorgeous tenor voice, 
beloved by everyone, was utterly improvident. 
There was never any money. 

The father dying by the time he was eleven, John 
was the sole support of himself and his mother. He 
worked in textile mills, dye houses, hosiery mills, 
candy factories, sawmills. (Please turn to page 115) 




Phfito uv Eugene Robert Rifhec 



68 



The New Movie Magazine, August, 1932 




Photo by Hurrell 



And here you see Joan Crawford and Robert Montgomery together again — and as heroine and 
hero, in "Letty Lynton," based on Marie Belloc Lowndes' drama of modern society and intrigue. 
It is directed by Clarence Brown. Bob has just signed a new long-term M-G-M contract. 



The Neiv Movie Magazine, August, 1932 



69 




IT may be that in years to 
come New Yorkers will be- 
come conscious of the his- 
toric value of a private house 
on 137th Street in the Bronx. That 
is, New Yorkers will attain such 
consciousness if Sylvia Sidney's 
fame continues to rise in propor- 
tion to its present ratio. 

For it was in that big house on 
137th Street that Sylvia was born 
on a hot August 8th, in 1910. 

Sigmund Sidney, a dentist, de- 
termined to work harder than ever 
so that his little daughter should 
have a sufficiency of material 
things, and Beatrice Sidney vowed 
that her child should be reared free 
of unnecessary restraint. And both, 
as Dr. Sidney told me recently, were 
happy that their first child was a 
girl. 

"I was, and still am, madly in love with my wife," 
Dr. Sidney said, "and I wanted a little girl who would 
be her prototype — so that my love could be doubled. 
Each day my daughter Sylvia grows more like her 
mother." 

Perhaps much that came out in Sylvia's character 
later on may be explained by her parentage. Her 
father is Roumanian, with all the light-heartedness and 
pleasure love which is natural to his people. Her 
mother is Russian, and, both by experience and an- 
cestry, is more sedate and moody than her father. 

Throughout infancy, Sylvia was a model child. There 
was never a sleepless night for her parents. In fact, 
they worried because she cried so seldom and thought 
it abnormal for a child to lie hour upon hour doing 
nothing but blinking her large green eyes. 

Beatrice Sidney laid the foundation for Sylvia's 



70 



Lonely 
Little 

GIRL 



At the age of five, 
Sylvia Sidney first 
showed tendencies to- 
wards things theatrical. 
At twelve she gave her 
first recital. 



future by rearing her sys- 
tematically. There were regular 
times for eating and regular 
times for sleeping — and Sylvia, to 
this day, tries to follow a regular 
routine for the sake of her health. 
Mrs. Sidney was as thoughtful of 
the character of her daughter as 
she was of her health, taking care 
not to force her to the point of 
breaking her will. And it was the 
development of this will power that 
later on led Sylvia to success on the 
stage and in the movies. Her father 
still remembers her dislike of bread 
and butter, and tells of the attempts 
he and Mrs. Sidney made to tempt 
Sylvia to eat them. But she would 
not be tempted, and to this day dis- 
likes them. 

At five, Sylvia showed ten- 
dencies toward things theatrical. 
She liked to dress up in her mother's clothes, not 
just to feel big like most children do, but with an 
attention to detail that astonished her parents. Getting 
the right colors and draping the clothes properly to fit 
her miniature figure were serious matters to her. She 
would spend hours arranging her long, curly hair, 
and only when the coiffure and costume satisfied her, 
did she begin to act. The poise she exhibited was 
amazing. 

Other children of her own age bored her. At four she 
was already tilting her little nose up at the block and toy 
games of other four-year-olds. Her attitude worried 
her parents; they feared she would grow up to be a 
recluse, or worse still, a snob. Often they sighed to 
see her curled up in a big chair trying to read a book, 
or seated quietly at the dining-room table working on 
freehand drawings. 

The New Movie Magazine, August, 1932 



K-jJt 



When they could not find her, they looked for traces 
of her drawings on the wall — her favorite "drawing 
boards" — and followed her by the sketches that marred 
the rooms. Her father still expresses amazement at 
the sense of color and proportion she showed in her 
drawings. He was sure she would follow in her 
mother's footsteps and be a designer. And when Sylvia, 
at the age of five, became critical of her wardrobe, both 
Mr. and Mrs. Sidney were certain that she would make 
designing her vocation. 

"Why don't you play with other children?" they often 
asked, urging her to make friends with her little 
neighbors. 

"But" — this at the age of five — "they bore me. I 
want to read." 

ABOUT this time she began to reveal a strong will. 
> "But she was never offensively stubborn," her 
father says. "She reasoned logically, refusing to accept 
the statements of her elders until she was satisfied they 
were correct. She would be polite and attentive, but 
demanded that her opinions be respected until she was 
convinced that her point of view was wrong. 

"Both her mother and I always spoke to her as 
though to an adult." 

At the age of seven, Sylvia began to study elocution. 
Her teacher was Joseph G. Geiger, famous for his work 
as an elocutionist. From the first lesson he took a 
personal as well as a professional interest in 
Sylvia. He was certain she had potentialities 
as a stage star. Like her parents, Mr. Geiger 
respected Sylvia's opinions and ability to 
reason. They would argue, the teacher and 
his beautiful little pupil, about the reactions 
of characters. Until Sylvia felt that she un- 
derstood the characters to the point of losing 
her own identity in them, she could not com- 
mit the recitation to memory. 

She continued to go to public school in the 
Bronx, still refusing to be friendly with the 
other pupils in her classes, choosing her inti- 
mates from among girls five or six years older 
than herself. She was, according to her report 
cards, an exceptional student. Her father says 
that she was an omnivorous reader, and at the 
age of eight had read books which were meant 
solely for adults. At that age she already un- 
derstood much about life, and 
talked frankly with her parents. 
There was never any hokum or 
camouflaging of facts where Syl- 
via was concerned. 

She received an allowance of 
three dollars per week, and was 
not questioned about how or why 
she spent it. It was her money 
to do with as she liked — and she 
spent almost all of it on books. 
By the time she was twelve, she 
had a large library of fine books 
herself — dealing with subjects 
from clothes to religion. No 
wonder she found girls and boys 
of her own age boresome ! She 
was interested in thinking, and 
they were interested in playing. 
In public school she was pro- 
moted several times in a single 
year, so it would not have been 
satisfying to make friends she 
would have to leave behind. 

Every summer she was sent 



Here is a close-up of Sylvia in a 
corner of her Hollywood home. 
There, as everywhere, she sur- 
rounds herself with the finest of 
reading material. 




Sylvia Sidney is thrilled by attention 
but frightened at success. Yet her 
modesty and shyness will aid her in 
keeping the high position she has 
already attained in Hollywood 



to camp in Pennsylvania, but 
even in the intimacy of camp life 
she could not get close to other 
little girls in her own groups. 

In New York, Sylvia was the 
idol of numerous cousins, mostly 
male. Several of her young 
cousins had come over from Rus- 
sia and Roumania where they 
had seen suffering and privation 
— and Sylvia felt keenly that 
they had passed through miser- 
able times. 

She still has a strong sense of 
family ties. She is most proud 
of her cousin, Albert, who is fa- 
mous as a bacteriologist. He 
used to tease her, when she was 
a little girl, about her sense of 
self-importance. One of her ways 
of showing it was to slip away 
to small stores with her allow- 
ance and, feeling she had enough 
books for a while, spend it all on 
little purchases. The more things 
she bought the happier she was. 
Then she would, with grave seri- 
ousness, distribute her purchases 
among the family or children she 
knew. 

Sylvia was twelve years of age 
when she gave her first recital 
in public. Her father had rented 
the Little Theatre for a Sunday 
evening. "Little Jesse James" 
was enjoying a long run there 
during the week — and, to make 
Sylvia's happiness complete, her 
father employed the "Little Jesse 
James" orchestra to play for the 
recital. The house was packed. 
Sylvia ordered the stage hands 
about, and they loved it. She 
made friends of the ushers and 
the doorman. 

Her recital was strenuous. It 
consisted of nine recitations with 
as many changes of costume — 
and she was a miniature Ruth 
Draper. For two and one half 
hours she held a full house at- 
tentive — and when she finished, 
even the ushers applauded. 

Several years later, when Syl- 
via made her professional bow, 
in the same Little Theatre, in 
"Gods of the Lightning," some 
of those ushers were still work- 
ing there. They came up and 
congratulated her, and said that 
they knew she would grow up to 
be an excellent actress. She was 
as thrilled as the ushers. 

Following the recital, Sylvia 
lost interest in elocution. She 
(Please turn to page 81) 



The New Movie Magazine, August, 1932 



71 



Knew Them WHEN 



Twenty Years Ago the Mo- 
tion Picture Business Was a 
Great Adventure 

By J. EUGENE CHRISMAN 



WAY back in 1909 or '10, when the motion 
picture industry was still wearing three- 
cornered panties and Hollywood was a 
district of orange groves and cow pas- 
tures, a tall, lean, strong-featured young Cana- 
dian named Al Christie came out of the East 
to direct comedies for Universal. A short time 
later this young ex-news butcher, ex-bill poster, 
ex-scene painter and ex several other things 
decided to make pictures for himself. Accord- 
ingly the Nestor Film Company was organized and in 
their first studio, a remodeled beer garden, at the 
corner of Sunset Boulevard and Gower Street, the 
Christie Comedies were born. 

For two decades Christie Comedies have contributed 
to the mirth of nations and today, although his hair 
has silvered and his tall frame no longer has the lean 
supple strength of youth, Al Christie is still in the 
saddle, making pictures. Mellowed by the years and 
tempered by the experience, there is nothing he likes 
more to do than to reminisce of the old days when 
many a now famous player or embryo director first set 
his foot upon the path of glory under his banner. 

On that crude stage at Sunset and Gower, Laura La 
Plante, Betty Compson, Lon Chaney, Louise Fazenda, 
Colleen Moore, Barbara La Marr, William Seiter, John 
Francis Dillon, Frank Borzage, Robert McGowan, 





Al Christie himself, when he was directing Nestor 

comedies in 1910. Mr. Christie gives his fascinating 

recollections of early movie days in this article. 

Archie Mayo, Edward Sloman, Mary Lewis, Charlie 
Chase, Hoot Gibson and many others faced a motion 
picture camera for the first time. Mr. Christie was 
also first to feature the now famous. team of Marie 
Dressier and Polly Moran in a comedy, and it was from 
the cast of a Christie comedy that Howard Hughes 
selected Jean Harlow, the platinum blonde sensation 
of "Hell's Angels." 

"Yes," admits the veteran, "I can say that I started 
a good many of them in the business, but I don't by 
any means take credit for their future success. I just 
happened to be the one to give them their first oppor- 
tunity, that's all. 

'"pHERE was Lon Chaney, 
-*- for instance," Mr. Chris- 
tie leaned back in his big 
chair and lit a cigar. 

"In those days we used to 
get most of our new players 
from road shows that went 
broke in Los Angeles. 

"The first time I ever saw 
Lon, he was doing a comedy 
Zulu dance in a little bur- 
lesque house on Main Street. 
He wore a fright wig and was 
in black-face, and I'll say that 
he didn't look much like the 
man who was to become the 



72 



Jean Harlow was playing a 
small part in a Christie comedy, 
"Weak But Willing," when she 
was discovered by Howard 
Hughes. The now famous 
blonde was then an extra. 



The New Movie Magazine, August, 1932 




The test still of Laura La Plante. This was made at the famous rose 

bush in the San Fernando Valley near the present town of Lankershim. 

Here Al Christie made all his test films of newcomers, and here Miss 

La Plante, Betty Compson and others broke into motion pictures. 



greatest character actor of the screen. 
His show was closing up, so I gave him 
a job. 

"Lon's first part with me was that 
of a comic drunk who had lost his 
clothes and had to go home in a barrel. 
It was blistering hot and Lon got a 
terrible dose of sunburn, to say nothing 
of some good hard bumps, for comedies 
were rough in those days. He only 
stayed with me a year before he went 
to Universal as a character man. Not so long before 
Lon died, we met at a dinner and, as he shook hands 
with me, he said: 

" 'Well, Al, we used to have lots of fun, but I'll carry 
the scars from those comedies of yours to the grave.' " 

Mr. Christie's eyes lit up as he remembered another 
recruit from the Main Street burlesque shows. 

"It's funny how things turn out, isn't 'it? Now, if 
Victoria Ford hadn't been 
crazy about cowboys and al- 
ways hanging around them, 
Betty Compson might never 
have gone into pictures. 

"You see, Vic Ford was my 
leading lady in those days, 
and when she and Tom Mix 
decided to get married, she 
left me on short notice. 

" 'How about a little raise 
in salary, Vic?' I asked, won- 
dering if that wouldn't tempt 
her to stay. 

" 'I'm in love,' she told me, 
'and what is money, even a 
lot, compared to love?' 



Now and then the early mo- 
tion picture comedies went 
romantic. In this scene of an 
early Christie film, Betty Comp- 
son plays the damsel in distress 
and Bob McGowan is the 
ornate gentleman. 



Colleen Moore and an actor 
now unknown, in an early 
Christie comedy. Miss 
Moore got her job at the 
Christie studios because she 
could weep at will. She could 
turn tears on and off as you 
and I operate a shower bath. 




"Well, she and Tom got married and it was up to 
me to find a new leading lady, quick, so down to Main 
Street I went. I dropped into a theater to see an act 
called 'The Wrong Bird', where a cute little trick with 
long curls was playing a violin. Her name was Betty 
Compson and she looked like she might do, so I asked 
her to come out and see me. She came the next day 
and we took a test of her. {Please turn to page 91) 




The New Movie Magazine, August. 1932 



73 




Needlework for 
Summer Afternoons 



Aul43 — This circular gives 
directions for making darned 
■filet runners and doilies. 



Aul44 — Here you have 

directions for making the 

gingham card-table set at 

the right. 



Aul45 — Directions for mak- 
ing embroidered and ap- 
plique towel borders are 
given here. 




Aul46 — This gives complete 
directions for six new cro- 
chet insertions and edgings. 



Au 1 47 — This circular explains 
how to make attractive 
table doilies to harmonize 
in color and design with your 
favorite china. 




Make these accessories for 
your home with the aid of 
our New Method Circulars. 




Aul48 — Make this 
laundry bag to hold 
stockings and hand- 
kerchiefs. 



Aul49 — This gives 

directions for six sorts 

of tatted edging. 



Au 1 50 — Three of the newest types of 

bureau covers can be made with the help 

of this circular. 




For complete directions for 
obtaining New Movie Maga- 
zine Patterns, please turn to 
page 109. 



74 



The New Movie Magazine, August, 1932 



n 



th 



e 



GRACE KINGSLEY takes you here and 
there and everywhere with the stars 
and the near-stars on pleasure bent. 



Hollywood Whi 



r 





Photo by Watson 



(At the top): Carl Laemmle, Sr., entertains at his elaborate 
home for Dr. Arnold Franck, who has gone to the Arctic to make 
pictures. Among the guests were, left to right: Lew Ayres and 
June Clyde. Mr. Laemmle is shown in the background at the left. 



(Below): At the Holloway tea you would have met, among 
others: Mrs. Edward G. Robinson (Gladys Lloyd, as she is known 
on the stage), Marguerite Churchill, Anita Louise, (all above, 
reading from left to right), and (below, from left to right) Lila 
Lee, Nina Quartaro and Dorothy Tree. 



The New Movie Magazine, August, 1932 



Photo by Hay Jones 



THE whole world and his wife, I started to 
say, were at Colleen Moore's tea party on 
Sunday. But who cares about the world and 
his wife? It's the world and his sweetheart 
we're after. So I'll put it that way. 

Of course, you know all about Colleen's gor- 
geous house on her estate in Westwood, with its 
big terrace at the back and its vista of lawn and 
swimming pool. 

It was out there we met the Hollywood world 
and its sweetheart, with Colleen looking more like 
a little school girl than ever, dashing about trying 
to greet everybody, and being most gallantly aided 
by her fascinating husband, Albert Scott. 

Mary Pickford I had met at the Mayfair the 
night before, and though she hadn't gone to bed 
until dawn she said that she had had a masseuse 
coming at nine that morning, so she had to get up, 
though she would much rather have slept. Doug, 
she said, had risen at eight to play tennis. 

"Funny the things we plan fussily about for 
our health, and then when the time comes we'd 
have been much better off not to have thought 
about it," she laughed in that throaty little way of 
hers. She said she held in her hand, even then, a 
little note from her niece, Gwynne, telling her she 
must come straight home. 

"The rising generation does boss us, doesn't 
it?" she smiled. 

Just then Colleen came with her Japanese maid 
in tow. The maid was gazing at Mary wide-eyed. 
Afterward Colleen explained that the maid never 
had seen Miss Pickford (Please turn to page 116) 

HOW HOLLYWOOD ENTERTAINS 



75 



L 



The fireplace side of 
the living room, show- 
ing natural pine panel- 
ing and wide pine 
board flooring. 




Floors and Walls 
for the Little Colonial Home 

We plan the interior treatment for the house chosen by readers of this magazine 



ONCE you decide to build a Colonial type of house, 
the question of inside walls, floors and other 
interior finish is easily answered. It is simply 
a matter of choosing which of several correct 
Colonial styles of floor and wall treatment best meet 
your individual requirements, which you like the best 
and which you can afford. 

Fortunately, it is no longer difficult to obtain the 
right interior treatment for the Colonial house, because 
makers of inside trim have, within the past few years, 
given close attention to this subject and the house- 
builder can buy ready-made doors, mouldings, wall 
paneling, stair parts, mantels, cabinets, bookcases, etc., 
copied from old Colonial originals, at most reasonable 
prices. One of the great advantages of the Colonial 
type of house to the average American house-builder 
is the fact that it calls for no unusual or expensive 
materials. In the old Co- 
lonial houses, moulded work 
was all wrought by hand, but 
with the aid of modern ma- 
chinery these beautiful old 
models are now perfectly re- 
produced at an enormous sav- 
ing of time and labor. 

The walls of your living 
room, hall and dining room 
may be finished with wood 
paneling, which is most at- 
tractive in the small Colonial 
house when carried out in 
natural pine. 

At a somewhat lower cost 
the walls may be finished 
with rough plaster or with 
tinted or scenic wall paper. 
Upstairs rooms may be 
painted or papered. 




The ceiling of living room and dining room may be 
finished with broad beams or painted a somewhat lighter 
tone than that used for the side walls. Floors 
simply treated, with wide boards of pine or other wood 
well waxed and polished, are the usual choice for the 
downstairs floors, with narrower boards polished or 
painted for the rooms above. 

The fireplace, essential to the Colonial living room, is 
faced with red brick, topped with a wood mantel shelf. 
The entrance hall to our home should be planned 
carefully, as first impressions are lasting and a charm- 
ing entrance is the keynote to the rest of our home. 
The stairway is the main feature in the entrance hall, 
and in the Colonial house should be very simple. It can 
be constructed entirely of pine if we should decide to 
finish the walls in pine, or if we paper the walls it can 
be finished in mahogany and white. 

So, by the use of good qual- 
ity woodwork, plaster, paints, 
bricks and other usual mate- 
rials, the house-builder can 
carry on the tradition of sim- 
ple beauty and comfort that 
is as much admired today as 
it was two hundred years ago. 
If you would like additional 
information about the interior 
treatment of the Colonial 
house, write to the Tower 
House Editor, care of the 
Tower Magazines, 55 Fifth 
Avenue, New York, N. Y. 

The hall of the Colonial 

house may be finished 

with wood panels or 

scenic wallpaper 



76 



The Neiv Movie Magazine, August, 1932 









I 



Twenty-seven-year-old David Manners has taken long-legged strides to the top of the ladder. Hand- 
some, brown-haired, hazel-eyed, humorous — he has won the hearts of thousands of fans, and yet 
managed not to lose his head. His current release is "Crooner." 



The New Movie Magazine, August, 1932 



Elmer Fryer 



77 



L. 



MUSIC of the SOUND SCREEN 



Al Jolson making a musical 
picture — "The Kid from 
Spain" also to be produced 



HERE are a few high spots 
from the month's news of 
new musical pictures on the 
sound screen. 
Al Jolson, of "Sonny Boy" fame, is 
going to try to do it again, this time 
with none other than Madge Evans. 
The new picture is to be a United 
Artists production, and already has 
had several titles. One of them is 
"Hallelujah, I'm a Bum!" Remem- 
ber the hit song of that name a few 
years back? Certainly Al Jolson 
could do that sort of thing to per- 
fection. 

Another piece of news is that Sam 
Goldwyn is producing "The Kid 
from Spain," an original screen mu- 
sical comedy. With the team of 
Harry Ruby, Bert Kalmar and Wil- 
liam Anthony McGuire writing the 
show, and Eddie Cantor doing the 
stellar honors, there is no reason 
why the picture should not be a 
knock-out. 

i 

^TEDDY BLACK heads the list 

-*- this month — and justly so. When 

you hear this latest release of his, 






AL JOLSON 



MADGE EVANS 



By 
JOHN EDGAR WEIR 



"My Lips Want Kisses," you're go- 
ing to say it's one peach of a tune. 
When it comes to a real smooth 
band, this man Teddy Black and his 
boys are hard to beat. Listen to 
them on the N.B.C. network some 
night. Teddy incidentally is one of 
the hardest - working musicians 
you'll find. He not only leads, but 
plays sax, and does most of his 
arranging — enough work for three 
men. Indeed, this recording is one 
of Ted's own arrangements. The 
vocal is sung for us by the trio from 
the orchestra. 

The other side, also by Maestro 
Black and his boys, is "Every Time 
My Heart Beats," and just as good 
as the first. Again we hear the trio 
singing the vocal refrain. (This is 
a Victor record.) 

T OUIS (Satchel -Mouth) ARM- 
-L' STRONG has turned out an- 
other pip. This time it's "Lawd, 
You Made the Night Too Long," and 
Louis starts it out with a bang, far 
and away one of the best records 
Armstrong has turned out recently. 
The vocal chorus is very good (if 
you like Louis) and he plays one of 
the weirdest breaks I have ever 
heard. 

The other side, "Keepin' Out of 
Mischief Now," is more subdued, 
but it's hard to keep Louis down. 
(This is a Columbia record.) 
(Please turn to page 98) 



The Month's Biggest Hits 

"My Lips Want Kisses" (fox trot) 

Played by Teddy Black and his Orchestra — (Victor). 

"Lawd, You Made the Night Too Long" (fox trot) 

Played by Louis Armstrong and his Orchestra — 
(Columbia) . 

"I Want to Go Home" (fox trot) 

Played by Coon-Sanders Orchestra — (Victor). 

"Let's Have Another Cup o' Coffee" (fox trot) 

Played by Enrico Madriguera and his Hotel Biltmore 
Orchestra — (Columbia) . 



78 



The New Movie Magazine, August, 1932 







HEINZ BEANS 
ARE BAKED 

MOST BEANS ARE N'T 




Perhaps you, too, didn't realize that 
most so-called "baked beans" aren't 
baked at all. Perhaps you doubt this. 

If so, just glance at the labels on the 
different brands of beans. Unless the 
label says "Baked," those beans aren't 
baked. They're cooked in sealed cans by 
steam heat. Heinz Beans are baked — 
oven-baked. They're different from 
steam-cooked beans — just as a baked 
potato is different from a boiled potato. 

Learn what a difference baking makes! 
Try Heinz Oven- Baked Beans. Oven- 
baking makes Heinz Beans marvelously 
light, tender and digestible. It lets the 
sauce permeate through and through — 
just as butter permeates a baked potato. 
And oven -baking gives Heinz Beans a 



rich, luscious flavor that no other method 
can begin to equal. 

You can' get Heinz Oven-Baked Beans 
in four tempting styles. Two with toma- 
to sauce — with pork and without. Then, 
Boston Style — with pork, in a rich, 
molasses -flavored sauce. Lastly, Red 
Kidney Beans — with pork, in a savory 
clear sauce, ready to serve. 

Serve Heinz Oven-Baked Beans — 
they'll be a favorite with your family. 
And with four kinds to choose from, 
you can always gain variety — no matter 
how frequently you serve them. They're 
wonderfully nourishing, too — all the 
food value of meat and potatoes. Your 
grocer sells Heinz Oven-Baked Beans. 
"One of th Qf Varieties." 



• FREE ... a fascinating booklet! 

Send the coupon opposite for a copy of the 
free booklet, '-Thrifty New Tips on a Grand 
Old Favorite. "It contains dozens ofrecipes and 
complete menus that will make meals easier to 
prepare — more delicious — more economical! 



H. J. Heinz Company. Dept. TM8, Pittsburgh, Pa. 

Please send me — FREE — your booklet of baked bean recipes and menus — "Thrifty New Tips on a 
Grand Old Favorite." 

Name. „ __ 

Street . 

City 






State- 



The New Movie Magazine, Auaust. 1932 



79 



Keeping SLIM 

on Her Own Cooking 




MELBA toast and black tea 
may find their places on the 
menu of Maiiene Dietrich, 
Paramount importation from 
Germany, but several of her native and 
not so calorie-proof dishes are included 
on it as well. She may have orange 
juice and toast for breakfast but she'll 
follow through with paprika chicken or 
baked ham and sweet potatoes later, 
Dutch apple cake, or snow pudding. 

Sunday starts off with a late break- 
fast and bacon as a special treat. 

Breakfast: Orange juice, Melba 
toast, crisp bacon, coffee. 

Dinner: Tomato juice cocktail, pa- 
prika chicken, lima beans, celery curls, 
lettuce, russian dressing, demi-tasse. 

For Monday honeydew melon, Melba 
toast and coffee is the breakfast menu. 

Luncheon: Tomato salad, French 
dressing; rye-bread toast, black tea, 
stewed apricots. 

Dinner: Baked liver, baked pota- 
toes, creamed celery, cucumber salad, 
cream dressing, cracked wheat rolls, 
Dutch apple cake, lemon sauce. 

The favored Hollywood lamb chops 
gain a place on Tuesday's menu. 

Breakfast: Baked apple, bran muf- 
fins, coffee. 

Luncheon: Pear and cream cheese 
salad, rye bread, frosted coffee. 

Dinner: Tomato juice, broiled lamb 
chops, string beans, fruit gelatin, demi- 
tasse. 

Wednesday's meals start off with 
sliced peaches, whole wheat toast, mar- 
malade and coffee; with fruit salad, 
black tea and toasted rye bread for 
luncheon. 



80 



Slim and tall, Marlene 
Dietrich seems untroub- 
led by the dietary woes 
that beset most mortals. 



Marlene Dietrich worries about 
her figure only now and then 
— and in between times she 
eats all the foods banned to 
less lucky stars, and cooks 
some of these dishes herself 



Dinner: Tomato soup, roast beef, 
rare, escalloped potatoes, combination 
salad with French dressing. 

For Thursday breakfast: Grapefruit, 
cracked wheat rolls, coffee. 

Luncheon : Baked eggplant, aspara- 
gus salad, iced tea. 

Dinner: Fruit cocktail, Baked ham, 
baked sweet potatoes, beets, orange 
sherbet. 

Popovers are the inducement for 
Friday's breakfast which includes 
grapes and coffee. For luncheon a 
bacon and tomato sandwich and tea. 

Dinner: Celery curls, roast lamb, 
browned potatoes, peas, snow pudding, 
coffee. 

Saturday's breakfast includes melon, 
cornbread, honey and coffee, with a 
tomato-cheese souffle for luncheon. 

Dinner: Bouillon, broiled chicken, 
Waldorf salad, broccoli, fruit cup. 

Here's a recipe for Dutch apple cake, 
which Marlene bakes herself: 



1 cake yeast 
Yi cup lukewarm milk 
Yi cup scalding hot milk 
Y\ cup sugar 



2Y2 cups flour 
Yt, cup shortening 
1 teaspoon salt 
1 egg yolk, beaten 



Soak yeast in lukewarm milk. Add 
to scalded milk. Add half the sugar f 
and flour. Let rise until doubled in 
bulk. Then beat in the rest of the 
sugar, flour and other ingredients. 
Spread thinly in greased baking pan. 
Let rise in warm place until doubled 
again. Press thinly sliced apples into j> 
dough in even rows. Sprinkle with V2 i J 
teaspoon cinnamon mixed with a half r 
cup brown sugar and dot with cur-i 
rants. Bake in hot oven. 

The New Movie Magazine, August, 1932 



-*M 



Lonely Little Gir 

{Continued from 'page 71) 



felt that she had gone as far with it 
as she could, and begged her parents 
to let her enter the Theatre Guild 
School. She was only fifteen, but her 
parents permitted her to satisfy that 
ambition as they did in everything 
else they considered for her good. Her 
father, smiling as he thought over 
those bygone days, said that she not 
only worked, she slaved. She learned 
how to make her own costumes, how to 
make up, learned about lighting effects. 

It was at fifteen that Sylvia attended 
her first dance — a New York Univer- 
sity prom — escorted by one of her 
cousins. 

"The way she dressed for that dance 
reminded me," her father says, "of the 
time I took her to the Palace Theatre 
when she was thirteen. She had a 
black-and-white outfit on — with white 
fur at the neck — and she looked beau- 
tiful. I was proud of her — but she was 
prouder of herself. She managed to 
be late and made sure I had gotten a 
box. When we arrived and sat down 
she kept nudging me and saying 'Look 
dad, look, everyone sees me. They're 
looking at me.' And it was true — 
people were looking at her." 

Today Sylvia is thrilled at attention 
— she is never too proud to realize 
what it means to her and her career. 
Her father says that success frightens 
her — and that this fright and modesty 
will keep her on the star pedestal long 
after other stars have fallen. She is 
very stubborn about her career — as her 
association with Fox Films proved. 
She was signed by that company and 
promised the sky — only to get a small 
part in "Thru Different Eyes." This 
slight was so great that she begged to 
be released from her contract — which 
was a very lucrative one. She was 
notified of her release one morning 
and a few hours later was New York 
bound. Her Paramount contract and 
subsequent success is film history and 
known to the fans. 

"New York will always hold first 
place in Sylvia's heart — it is her home- 
town," says her father. "It is my 
home, too — but my wife has been away 
in Hollywood with Sylvia since the 
first of the year. That is too long a 
separation from the two persons I love 
most in the world. If Sylvia still feels 
that she needs her mother with her — 
I will give up my practice in the East 
and join them in Hollywood. The ideal 
situation for Sylvia, however — would 
be for New York to be about a thou- 
sand miles nearer Hollywood — so she 
could commute." 



\\^QI^VORTHS 

l/otc un££ ftMd QL 
■new t^ue <£t lAe 

t0 of ectcA mwit/^ 



Everybody Failed Her! 




HER HUSBAND HER SERVANTS 

HER FRIENDS • • • BUT HER 
DOCTOR EXPLAINED IT AWAY! 



NO matter what her hus- 
band said or did, it 
was the wrong thing. She 
was irritable with old 
friends and couldn't seem 
to make new ones. She had 
headaches. She no sooner 
got rid of one cold than she 
picked up another. And the way she 
looked! . . . her eyes . . . her skin. Even 
her hair looked dead. 

Said the doctor: "The fault, my dear 
girl, lies within yourself . What you need is 
a good internal cleansing — with Sal 
Hepatica. You're being poisoned because 
of improper elimination, and consequent 
fermentation. These poisons have crept 
into your blood stream." 

In Europe a physician will ship you off 
to one of the great spas — to drink the 




saline waters at Carlsbad, 
Vichy or Aix. 

But in America, you can 
getSalHepatica and take the 
saline treatment at home. 
Sal Hepatica gently 
flushes poisons from the di- 
gestive tract. It counteracts 
acidity. It -purifies the blood stream. It gets at 
the cause of headaches, indigestion, colds, 
rheumatism. It clears the skin — brings 
back freshness to the complexion. 

Today, get a bottle of Sal Hepatica and 
begin the saline treatment. Keep inter- 
nally clean for one week. You'll brighten 
up, you'll feel better. And everything will 
begin to go right instead of wrong! 



Sal Hepatica 



BRISTOL-MYERS CO., Dept. M-82, 71 West St., New York, N.Y. 
Kindly send me the Free Booklet,"The Other Half of Beauty," 
which explains the many benefits of Sal Hepatica. 




Name_ 



Streets 



City_ 



State_ 



The New Movie Magazine, August, 1932 



81 






Edgar Wallace's Hollywood Diary 



and I scut another pot of flowers to 
.Mrs. Walter Huston, and I bought a 
whacking lot of (lowers for myself: won- 
derful lemon colored gladioli) bunches 
of cornflowers and pretty little flowers 
the name of which 1 don't know, and a 
hig blue flower rather like what isn't 
borage but what I think it is. At any 
rate, we'll have some flowers in honor 
of you tomorrow. At this very mo- 
ment I am dictating wearing a beauti- 
ful carnation. 

Culver City, where the M-G-M lot is, 
is right on the other side of Beverly 
Hills — not beyond the hills but down 
towards the coast. It took us twenty 
minutes to get there, and I had a 
turkey lunch which was enough for six 
people. They gave me all the turkey 
except the bones. That's the trouble 
with these United States; they give 
vou too much to eat. 

Before I left for Culver City, RKO 
sent up a photographer and the chief 
press-agent, whose name is Herb Moul- 
ton. They took a lot of pictures in the 
house, or rather in my sitting-room. 
They also took some pictures outside 
of the house — me standing by the Christ- 
mas tree, and Bob and me, with Rob- 
ert in the background, showing the 
house itself. (This picture is shown in 
this issue.) I really had these taken 
in order to give you some idea what 
sort of place we are living in. 

It is all over the M.G.M. lot that I 
have been here three weeks and writ- 
ten three stories. In fact, my reputa- 
tion for rapid work is being spread in 
all directions, and that is all to the 
good. 

Christmas Day. 

I GOT up at six o'clock this morn- 
ing, and it was pouring with rain, 
really pouring. 

Merian Cooper called and we talked 
over the big animal play we are going 
to write, or, rather, I am writing and 
he is directing. He has just had an 
approval from New York, and I am 
going to turn him out a scenario. It 
will take six months to make. He's a 
terribly nice fellow and I get on well 
with him, as I do with David Selznick, 
who is a regular fellow. 

I am going to Agua Caliente for 
New Year's Eve. There's a big party 
there, and I think it will be better than 
sitting at home. 

Saturday, 26th December, 1931. 

THIS has been a thoroughly lazy 
day. I went down to the studio 
this morning and lunched with Cooper. 
I collected my telegrams. 

Today is Marie's day out; she has 
one day a week; so we dined at the 
Brown Derby. She's a terribly good 
sort, and if you come out here next 
year I want to engage her. I have told 
you practically all the news of today. 
There is an article in tomorrow's Los 
Angeles Times, which you can buy to- 
night, which describes me as stout and 
pleasantly bald. That will give you a 
merry ha-ha. 

Sunday, 27th December, 1931. 

BY the way, do you realize that you 
and I are not awake together more 
than four or five hours a day at the 
same time? I usually go to bed at 
eleven, which is eight o'clock in Caux 



(Continued from ]>agc 30) 

the next morning, and get up at seven, 
which is four o'clock in the afternoon 
at Caux and three o'clock in England. 

I didn't tell you much about my Con- 
stance Bennett scenario. It has been 
read by one of the executives, who 
likes it tremendously, and is now being 
read by Selznick. Merian Cooper, who 
is one of the executives, the man who 
produced "Chang" and "The Four 
Feathers," said that his secretary, who 
is the best judge of pictures he knows, 
marked it as a wonderful story. 

There is a tremendous lot I can do 
with it yet. I am most anxious that it 
should go through, because it will be 
the first non-crime play, and the first 
sex play that I have ever done. I am 
beginning to be sorry now that I didn't 
send you the 'script, as I originally in- 
tended; but the moment I get an O.K. 
on it, that is to say, on the idea, I'll 
send it along to you. 



We consider that Edgar 
Wallace's Hollywood Diary 
gives you one of the best 
pictures of Movieland ever 
published. Written, famil- 
iarly and intimately, to his 
wife, you hear of all of the 
daily details of a famous 
man's life in the colony of 
stars. Don't fail to continue 
it in the next — September 
— issue of the New Movie 
Magazine. 



It is difficult to believe that I have 
only been here three weeks. I seem to 
have been here years, wasting most of 
them. . . . 

I have practically decided to stay out 
for the full time — that is to say, until 
March. One of the objections I have 
— and it is a perfectly absurd one — is 
that I shall miss Good Friday and Eas- 
ter Monday in England ! But I shall 
be back for my birthday. (Loud 
cheers!) 

I haven't again broached to you the 
prospect of your coming out. I am 
wondering if the journey, supposing 
you could make it, would compensate 
for the worry you would have about 
leaving Penny behind. I don't know 
what you are doing about the play at 
Wyndham's or when it is going to be 
produced, but obviously until that was 
well out of the way you couldn't pos- 
sibly think of coming out. 

If I knew that the Constance Ben- 
nett film was right, and that I was 
going to produce it, I should have Pat 
out here, I think, if you couldn't come. 
But, here again, I could not possibly 
make a decision until the 30th, when 
my contract is renewable after its first 
period. Anyway, I wouldn't have her 



out unless I knew a lot of people, and 
at present I don't. Before the end of 
January things will be marching. 

Tue8day, 29th December, I '.),! I . 

AN announcement has been made in 
the local press that I am doing a 
super-horror story with Merian Cooper, 
but the truth is it is much more his 
story than mine. I am rather enthu- 
siastic about it, but the story has got 
to be more or less written to provide 
certain spectacular effects. I shall get 
much more credit out of the picture 
than I deserve if it is a success, but as 
I shall be blamed by the public if it's 
a failure, that seems fair. 

I am rather glad I'm going to Agua 
Caliente, because it will be a change, 
and in a sense a rest. 

Wednesday, 30th December, 1931. 

I HAD an appointment with Merian 
Cooper at 11 o'clock and we saw a 
girl for our play. I don't think she 
will quite do. She's got a contract with 
Paramount, so it doesn't matter. She 
was terribly pretty and had a lovely 
figure, but what we want is a very 
mobile face that will express terror. 

I saw a length of the film which we 
might use. R.K.O. was going to pro- 
duce a prehistoric animal picture and 
made one or two shots. They were not 
particularly good, though there was one 
excellent sequence where a man is 
chased by a dinosaurus. 

I went into the animation room and 
watched the preparation of the giant 
monkey which appears in this play. 
Its skeleton and framework is complete. 
He is, of course, a figure, but a moving 
figure. You have no idea of the care 
that is taken in the preparation of 
these pictures. Cooper insists that 
every shot he takes shall first of all 
be drawn and appear before him as a 
picture. The most important scenes 
are most artistic. 

Talking of the care they take, I saw 
a woodcarver fashioning the skull on 
which the actual figure will be built. 
In another place was a great scale 
model of a gigantic gorilla, which had 
been made specially. One of the go- 
rilla figures will be nearly thirty feet 
high. All 'round the walls are wooden 
models of prehistoric beasts. The ani- 
mation room is a projection room which 
has been turned into a workshop. 
There are two miniature sets with real 
miniature trees, on which the prehis- 
toric animals are made to gambol. 

Only fifty feet can be taken a day of 
the animating part. Every move of 
the animal has to be fixed by the artist, 
including the ripples of his muscles. 
Of course, it is a most tedious job. 
They say in Hollywood that the two 
best animators are in lunatic asy- 
lums. 

A little while later I met Richard 
Dix and Joel McCrea. Joel is one of 
the coming men, an awfully nice boy 
who came straight from college to the 
Hollywood lot. They are going to 
build him up into a star, and I should 
think he's certain to reach there. 

I lunched with "Coop," but did not 
see David Selznick. 

You will be interested to know that 
my favorite lunch is a beefsteak sand- 
wich, which is a hot beefsteak between 
slices of new bread. Thus do I break 



82 



The New Movie Magazine, August, 1932 



Edgar Wallace's 
Hollywood Diary 



it to you that I'm not dieting, though 
I've eaten more bloody lettuce since 
I've been in this country than in my 
short but useful life. 

The weather has become fine again, 
and it looks as if my trip to Agua Ca- 
liente will be made under ideal weather 
conditions. 

Apparently New Year's Eve at 
Caliente is a very hectic affair. Every- 
body in Hollywood has a room at the 
hotel. The gambling houses go all 
night, and the racing track goes all 
day. I'm taking down 500 dollars and 
no check-book. 

Steve Donoghue is here. I haven't 
seen him; he's staying at the Biltmore. 
Where Michael Beary is, nobody knows. 
He hasn't wired his arrival from New 
York. He may have had a rough pas- 
sage. 

I didn't much like going to Caliente, 
but now I am rather looking forward 
to it. I have had a terribly heavy 
week. In the three weeks I've been in 
Hollywood I have written three scena- 
rios, two of them full out, and quite a 
number of articles. So you may say 
that I've been "chained to my desk." 
I am looking forward to tomorrow 
morning, when I shall be talking to 
you, please God and the telephone ser- 
vice. They are luxuries which are 
more or less necessities. 

New Year's Day. 

THE trip to Agua Caliente was an 
amusing fiasco. I think I told you 
that Guy Bolton is one of the nicest 
fellows in the world, a very gentle soul 
who thinks for everybody. 

We had arranged to go to Agua 
Caliente, and at 11:30, half an hour 
late, I sent off Terry, the chauffeur, 
and Robert in Guy Bolton's Cadillac, 
piled with baggage. We were follow- 
ing at two o'clock by train, and they 
were meeting us at San Diego. (By 
the way, San Diego is what I called 
Santiago; the mistake is pardonable.) 
They were meeting us at San Diego, 
as I said before, and driving us over 
the frontier. 

I went round at one o'clock to pick 
up Guy. Eventually we were all set 
and dressed, and then Guy remembered 
that he hadn't any money. I offered to 
lend him any money I had in my 
pocket, which was 500 dollars, but no, 
he must get money from his bank, and 
he hadn't got a check-book. Anyway, 
we stopped at the bank, and then we 
stopped at a corner store where Guy 
bought me some magazines, and then 
we made several short cuts, where all 
the lights were against us and the 
traffic was blocked to hell. 

In addition to all these things — or, 
as they say in these United States, as 
a background to these dramatic hap- 
penings — it was raining like hell! To 
cut a long and tedious story short, we 
arrived five minutes after the train 
drew out. To make matters infinitely 
more complicated, Guy had left his 
ticket behind at the house, and a young 
man who was lunching with us — rather 
a nice young man — had seized the 
ticket, dashed down to the station in 
a high-speed car, run alongside the 
train, as he said, for a quarter of a 
mile, and handed it over to the con- 
(Please turn to page 84) 




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Look closely at these pictures — notice 
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And then consider this: In the 75 
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Recently, in a famous baby clinic, 



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3 5 Madison Ave. , New York, N. Y. 

Please send me new edition 
"Baby's Welfare." 




Name- 



Address _ 
City 



-State- 



(Please print name and address plainly) 



The New Movie Magazine, August, 1932 



83 



Edgar Wallaces Hollywood Diary 



ductor, saying he would find us on the 

train. 

All our clothes had pone down to 
San Diego. There was not another 
train till half-past, six, and the Mexican 
border-line closes at six. We thought 
of flying. 

I confess I had visions of Terry and 
Robert plunging through the down- 
pour on their five-hour journey, and 
felt a certain amount of sympathy with 
them. Should we go by the six o'clock 
train? The border was open every 
hour till twelve. 

I suggested we should dine at the 
Brown Derby, so we agreed, and at 
half-past seven I picked him up. Guy 
packed a couple of bottles of cham- 
pagne in a manuscript ease, and we 
had really a good dinner. 

In the meantime, Guy telephoned to 
San Diego and paged Terry, who 
eventually rang me up. I told him to 
come back. It was very necessary that 
he should come back, for I had no slip- 
pers, shaving material, or even a good 
change of clothing. We had a very 
nice dinner. There were a lot of people 
there I sort of knew. I got back to 
the house about nine. I had to sit 
down and wait for the arrival of the 
poor wanderers of San Diego. Noth- 
ing makes you sleepier than sitting up 
waiting for people. 

Guy came back to the house and 
stayed till about ten. When he went, 
Bob and I settled down steadily just 
to wait, each suggesting the other 
should go to bed. Guy said he'd be up 
till twelve, but when at 11:30 Terry 
arrived with a broad grin, having 
driven steadily for ten and a half 
hours, I rang up Guy. He was dead 
to the world, and I got no answer, 
so I sent his car round and had it 
parked in his garage, and apparently 
all was well. 

I had a thoroughly lazy morning, and 
in the afternoon settled down to the 
scenario of the beast play. I had 
hardly started when there was a ring 
on the telephone. It was Fabia Drake, 
who is playing with the Stratford 
Players. I asked her to come round to 
tea. She was staying with an English 
girl who had come out here and had 
only done one film. Her name is Joan 
Carr. 

I thought there was a possibility of 
placing her in my beast play, as we 
have not yet settled on the woman, so 
I asked her to come round. She was 
quite charming, quite pretty, and has 
the requisite figure. They stayed for 
about an hour, and I asked them to 
dine with me tomorrow night at the 
Brown Derby. 

Today, being New Year's Day, is a 
public holiday. It has been rather a 
lovely day, though the promise in the 
morning was not too bright. My 
oranges are getting ripe, and I pre- 
sented Fabia with a rose grown in my 
own garden. It was not my rose, any- 
way. 

I hope they will take Joan Carr. 
She is a nice kid. 

Sunday, 3rd January, 1932. 

I DINED with Fabia Drake and Joan 
Carr last night — or, rather, they 
dined with me — at the Brown Derby, 
and afterwards they came on to the 
house till about a quarter to eleven. 



(Coulitnicd from page 83) 

Whilst we were talking, Norma Shear- 
er's chauffeur called with a note from 
her thanking me for some flowers I had 
sent for Christmas Day. Walter Hus- 
ton called up and asked me to lunch 
with him next week. He and his wife 
had been away, and he is at present 
engaged in doing some sort of picture. 

You might tell Penny (his young 
daughter) that Norma Shearer writes 
the same "b's" as she does. In fact, 
I'll send the little note on with this. 

One night this week I'm going to 
give a little dinner and ask Joel 
McCrea. 

Monday, 4th January, 1932. 

THE principal thing that happened 
today was the arrival of Michael 
Beary with the same aplomb as though 
he were walking into Newmarket. He 
came in on the Chief to the minute, and 
I brought him up to the house. I am 
keeping him at the Beverly Wilshire, 
because I don't think he could be com- 
fortable here, and I have no room for 
him, which seems the best reason of 
all. 

Michael's full of beans, terribly en- 
thusiastic, and the thing that impressed 
him most on the visit was the number 
of pigs he saw of various varieties in 
the prairie, and also the fact that he 
came up 164 miles by the side of the 
Hudson, which was frozen over. 

He was simply dazed with the won- 
der of California by the time I got h\m 
home. I brought him along Sunset 
Boulevard, and when you get to Bev- 
erly Hills you look down upon a wide 
flat valley, entirely covered with lights 
as far as the eye can see. "Like a field 
of yellow and red tulips," Michael de- 
scribed it. It was an amazing expe- 
rience for him, and he's gone home 
quite sleepy, to have the bath which is 
overdue. He had a grand time coming 
out, and of course made friends and 
introduced himself to a man and 
woman from Chicago. 

We dined together and I kept him 
here until about nine. He insisted upon 
writing a letter to Penny, which she 
won't be able to read, because I 



~"1 




Phntri hu Will 



Sally O'Neill recently had New York agog 
with rumors — first that she was engaged to 
Lewis Milestone, then to Arthur Loew. But 
Sally just giggled — and had a good time. 



couldn't, and he thinks I'm looking 
wonderful. 

By the way, I have sent you a set of 
photographs taken on Christmas Eve, 
probably the best that I have had 
done. When you get them I don't 
know where Pat (one of his daughters) 
will be, but I'd like her to see them, 
and perhaps you would like to send 
them out to Caux, that they may know 
in what style I live in Beverly Hills, 
Calif. 

I don't know what to do about my 
cook: she is making the food too good. 
Tomorrow I am going to start exer- 
cises, more or less. Bob has lost nine- 
teen pounds since he has been out 
here, and what he can do I can do, bv 
God ! 

I have taken a night man both as 
night watchman and to give me my tea 
if I wake up, and to relieve Robert 
when he wants to go out. Robert has 
been terribly good, but he is looking a 
bit worn, and I don't think he's having 
enough outings. In fact, as he doesn't 
go out at all, I am almost sure that I 
am right. 

Tuesday night. 

I WAS on the 'phone to you this af- 
ternoon, and they tell me I was 
speaking nine minutes. You get a re- 
bate for nine minutes: it only counts 
as seven — 98 dollars. 

Michael went up to see John McCor- 
mack, who lives right on one of the 
canyons above Hollywood. He's a great 
friend of Michael's. Michael, I might 
tell you, is in a state of dazed wonder. 
He is quite content with conditions as 
he finds them, quite content that I am 
terribly busy and he's got to look after 
himself. He thinks Hollywood's mar- 
velous, and he was terribly bucked to 
talk to you. In fact, he's going to have 
a few dollars' worth himself to John 
as soon as we get back to the house. 

Wednesday. 

I TOOK Michael down to the studio. 
We lunched in the restaurant with 
Cooper, who was very charming to him, 
and afterwards Michael came to one 
of the projection rooms and saw a bit 
of a film called "The Lost Squadron," 
which I have to doctor. We also took 
him in the animating room and he saw 
animated figures being made. I think 
he thoroughly enjoyed it. 

Michael went out at four to call on 
Steve Donoghue, and brought him back 
for a cocktail, and I asked Virginia 
Bedford and Guy Bolton over to dinner. 
When Steve came we persuaded him to 
stay on to dinner. It was a very amus- 
ing dinner party, with Steve and 
Michael chipping each other, and Guy 
Bolton, to whom all this was new, and 
Virginia, who was delighted with every 
word, completing, with Bob, a very 
pleasant sextette. Robert was a mar- 
velous butler. They did not go till 
half-past ten, though Steve went imme- 
diately after dinner. 

We have arranged to go down to 
Caliente on Saturday morning, and I 
think it will be a pleasant week-end. I 
have been going at it very hard, and I 
think the break will do me good. 

I have got a little bit of a delicate 
job to put the first reel of "The Lost 
Squadron" right. It means they will 
have to shoot all over again, and there- 



84 



The New Movie Magazine, August, 1932 



Edgar Wallac 3s 
Hollywood Dic r y 

star, 
fore I've got to be very careful cnows 
strict the sets. Thank heaven, pretty 
only responsible for the first reel' Para- 
is the only weakness in the story coffee 
Stroheim and Mary Astor are y din- 
and a girl called Dorothy Jorda house 
Joel McCrea. I am very anxiot; real 
this should be a good job. »ld. I 

stayed 
Thursday, 7th January, t them 

MICHAEL put through a enter- 
John this morning, just ,' their 
novelty of it, I suspect, and The is a 
talk with John. Immediately 
wards I got a 'phone from Centget the 
ing me that you were coming Eighty 
wire, which was a joyful surprut this 
costs about £20 for nine minutiust as 
really it is worth the money. Lo say, 
a marvelous material contact b eighty 
us. >w dif- 

Michael went out with Steve -ithout 
ghue this morning, riding. Thej start 
over to some country club wheremase, 
were supposed to be a lot of beaieces- 
girls playing golf. He came back id so 
Jodhpurs and sweater, absolutelpther 
rious. "Never let Mrs, Wallace 35 to 
up golf," he said. "It makes w<real 
inhuman. There were three hur one 
old hags up there, and I saw two ijive 
dred and fifty of them, with great Sac- 
cular shoulders. Beauties of Hoip. 
wood! I'll tell you where you worn- 
find them!" 

He was absolutely livid about it. 

It's grand news that you are think- 
ing about coming out, but I realize how 
impossible it may be. 

I am going up to see John McCor- 
mack tomorrow after I've been to the 
studio, and I am going to Agua Caliente 
on Saturday till early Monday morn- 
ing with Michael, possibly Virginia 
Bedford and Guy Bolton, and maybe 
Cooper and Joan Carr, if I can get 
them to come. Oh, and Robert! The 
weather is glorious and warm, and the 
balsam logs smell grand. 

I have finished the first reel which 
I had to alter of "The Lost Squadron," 
and this may be the first of my stuff to 
go into production. I am just chang- 
ing the character of the girl in "Kong," 
my animal story. There is a fight be- 
tween New York and Hollywood as to 
whether "Kong" shall be the title. 
Hollywood is enthusiastic; New York 
says "What does it mean?" — which is 
rather true to type. 

I am going to meet William Powell, 
Ann Harding and Connie Bennett at 
lunch somewhere. I am trying to skip 
dinner parties, and have so far been 
successful. 

Guy Bolton told Michael last night 
that I had ruined the writing industry 
in Hollywood, and that all the compa- 
nies wanted writers to imitate me in 
the matter of speed. He also told 
Michael that I was the biggest success 
amongst the writers that had come out 
here. So you see what you've got! 

Friday, 8th January, 1932. 

MICHAEL was here till ten. We 
had a quiet dinner and I shot him 
home at this hour. 

This morning I went down to the 

studio and took Michael. Cooper likes 

him and we have got a pass to go round 

all the stages. As I had arranged to 

(Please turn to page 86) 



The New Movie Magazine, August, 1932 



I 



he tragrant Linit 
brings instant reliei 

weatn< 




85 



Edgar Wallace's Hollywood Diary 



. , , . ■, , ,, Jw on the 

K<i up with him In soo John Met 

I couldn't take- him round the down to 

tion stages. I will ii\ that, another 

Oil Tuesday and pet somebody. Mexican 
after him, possibly Perry Li^ thought 
very nice publicity man. 

McCormack lives in a v» err y an ,i 
house just behind the Chinese L e down- 
It is an enormous place and ney, and 
the whole hill behind it. Th a thy with 
playing tennis when I arrive«j x o'clock 
(or Countess) McCormack is en every 
wilt, and John is one of the .1 
fellows you could possibly me<^ a t the 
have pot to meet him when he c anc j a t 
town. He is really an arrestjpp. Q uy 
sonality. I met his son who f cham- 
London. McCormack says tl anc ] we 
going home in April, and we s 
them in the summer. He's a-ioned to 
tennis player. v , w ho 

Vines was there, the champii him to 
will probably beat some of o> lrv that 
this year, also Morrie McLaugh no s jjp_ 
champion. a g00f i 

When I got home I found tha a very 
ducked a view. I had promised-^ p e0 ple 
a picture and hadn't. I thought -jack ^ 
about this that Cooper had bee ^ s ^ 
phoning frantically, but it a f |- ne 
there were one or two slight alter. Noth- 
he wanted to make in the 'scri^g. U p 
"Kong." Anyhow, I drove down, 
a chat with him, met a man I k anc j 
and another man who knew my stoi\ nt 
about the West Coast, and had lived thJ 
the West Coast, and I was back in the • 
house by six. 

By the way, when I got down to the 
studio this evening I found Joel 
McCrea, who, as I said before, is one 
of the coming stars. They are build- 
ing him up. He is coming up after 
dinner tonight. 

I am arranging to meet Ann Hard- 
ing next week, but I want to be very 
careful about making social engage- 
ments, because they interfere like hell 
with my work, and it is so easy to drift 
into a succession of dinners and 
lunches. 

Monday, 11 January, 1932. 

THE drive to Agua Caliente was not 
as beautiful as I expected it to be. 
We drove through oil fields to a very 
dreary Pacific Ocean that was sending 
in clouds of sea fret. Later, when we 
left the sea and got a little way 
inland, the scenery was quite delight- 
ful. 

We stopped for lunch at San Cle- 
mente, which was bought by a million- 
aire and made into a community, the 
conditions of building being that every 
house must be in the Spanish style. It 
is as yet only a straggling place, but is 
quite beautiful. 

By "we" I mean myself, Virginia 
Bedford, Joan Carr, Guy Bolton and 
Robert. At the last minute Michael 
did a Beary on us and said he intended 
staying behind and seeing a polo 
match. 

We got over the Mexican frontier 
about five in the afternoon, and as the 
Mexican authorities do not allow hired 
cars to cross the frontier, we had to 
engage a taxi and drove to the Agua 
Caliente Hotel. It is one of the most 
picturesque places I have ever seen, 
built entirely in the Spanish style with 
a great quadrangle enclosing an open- 
air bathing pool, and about sixty little 



86 



(Continued from, page 83) 

Whilst we were talking, Norma Shear- 
er's chauffeur called with a note from 
her thanking me for some flowers I had 
sent for Christmas Day. Walter Hus- 
ton called up and asked me to lunch 
with him next week. He and his wife 
had been away, and he is at present 
engaged in doing some sort of picture. 

You might tell Penny (his young 
daughter) that Norma Shearer writes 
the same "b's" as she does. In fact, 
I'll send the little note on with this. 

One night this week I'm going to 
give a little dinner and ask Joel 
McCrea. 

Monday, 4th January, 1932. 

THE principal thing that happened 
today was the arrival of Michael 
Beary with the same aplomb as though 
he were walking into Newmarket. He 
came in on the Chief to the minute, and 
I brought him up to the house. I am 
keeping him at the Beverly Wilshire, 
because I don't think he could be com- 
fortable here, and I have no room for 
him, which seems the best reason of 
all. 

Michael's full of beans, terribly en- 
thusiastic, and the thing that impressed 
him most on the visit was the number 
of pigs he saw of various varieties in 
the prairie, and also the fact that he 
came up 164 miles by the side of the 
Hudson, which was frozen over. 

He was simply dazed with the won- 
der of California by the time I got .him 
home. I brought him along Sunse 
~xc is -rd, a nd when you get to Bp x . 
dress for dmiu-'^k d own upon ? nil 
dining-room in red lacqu^i,- gorgeously 
ornamented, with a very fine orchestra, 
and, being Saturday, every table was 
filled. 

Michael turned up just after we 
went into the gambling room. There 
is a casino attached to this part of the 
building, where you can play roulette, 
a sort of game called vingt et un, and 
a game called birdcage. I didn't do 
very much good, but as the gambling 
is only in silver dollars, nobody was 
very much hurt, although I managed 
to lose 30 or 40 dollars before the night 
was through. 

All the dignitaries of the Jockey 
Club called on me, and I learnt then 
for the first time that the second prin- 
cipal race of the day was called the 
Edgar Wallace Handicap, and that I 
had been appointed an extra steward. 

Michael, of course, was his gallant 
self, took the women round and bought 
two-dollar presents for them, and after 
lunch, served in a big open-air patio — 
the sun was so hot that we had to move 
from the center to the side; in fact, the 
water bottle on the table was too hot 
to touch — we drove off in Guy Bolton's 
car, about six of us, to the course. 

There were eight races, and I am en- 
closing some programs. We had a box, 
and there were girls wearing long 
white trousers with red stripes, scarlet 
jackets and round caps, who come and 
take your bets and make them and 
bring back your money if you win. I 
went up into the stewards' stand, and 
afterwards on to the judges' stand to 
judge my own race, and was introduced 
by microphone to the assembled hordes. 
Afterwards Steve Donoghue and Mi- 
chael Beary were introduced. I backed 
five winners and won about £80 in all 
on the day. 



wonc ve ^ ac ^ a ^ e *- ter from Eva Moore, 

j^is out here with her daughter, 
_h rjs married to Laurence Olivier, 
mob- me *° £° ^° dinner, but I can't, 
done * even g0 to tea at the McCor- 
know ' 

wil1 Tuesday, 12th January, 1932. 
them n 'S'"t I was working mentally, 
in w! ; '^ ^ n ' s nlormn £ physically, on 
Calif' iy ^' s ' a t es t stage play) and 

j 'J the cable with the alterations, 
cook- know how many thousand words 
Tomo nre anc ^ now muc 'h it w '^ cost, 
cises " resume 't W 'H De pretty heavy, 
teen ' you w ''^ ^ e a ^' e ^° understand 
here ^S^t, because Bob, who doesn't 
q j ; the play very closely, was able 

t \,pe the necessary pages from the 

• r.iphed script. I am hoping to 

if j hat you received and understood 

.4 I have sent it direct to you, I 

. "t any doubt on the subject. 

bit v ven t down to the studio this 

ing rather early to see Cooper. 

rently they are not going to ac- 

air , f "Kong" as a title; they think it 

.i Chinese sound and that it is too 

-l like "Chang," and I can see their 

Its of view. I had to rewrite cer- 
lines, but of course this sort of 
ig will go on all the time; one ex- 
ults it. We are going into a huddle 
„'er it this week some time, and I hope 
„hat the executives are going to pass 
it quickly. 

I shaft be working this week on a 
mystery story called "Eighty Minutes." 
My excursion to Caliente was a little 
upsetting, so far as work was con- 
cerned, but I am very glad I took it. 
By the way, I am enclosing you some 
programmes to "show your friends." 

Michael is going to give a party on 
Saturday at the Embassy, and I am 
joining him in it. Virginia Bedford is 
giving a party on Friday, and Walter 
Huston is giving a party on Thursday, 
to which I am bidden. 

I have written you a couple of letters 
today. I find it very satisfying when 
I am a bit worried, as to how I shall 
start some big story, to drop a note to 
you. 

Michael is giving a dinner — did I tell 
you that? — and I am asking Evelyn 
Brent and her husband. She is one of 
the nicest people here by all accounts. 
I got in rather bad with Virginia, be- 
cause she had fixed a dinner for Thurs- 
day night and I had accepted a lunch 
engagement with Walter Huston. The 
lunch engagement turned out to be a 
dinner engagement, so I found myself 
engaged two deep. They wanted me to 
meet a man named Walsh, and I am 
meeting him at lunch at his house, 
which is amusing. 

Michael's visit has turned out to be 
a great success from every point of 
view. He goes back a complete author- 
ity upon Hollywood and very deeply 
impressed. 

I made an inquiry about the Connie 
Bennett film that I have written, but 
apparently it is still in the hands of the 
readers. 

Thursday, 14th January, 1932. 

MICHAEL, who has some friends at 
Pasadena, brought back a big 
bunch of Californian heather. Last 
night he telephoned me that he was 
taking two girls to dinner at the Brown 



The New Movie Magazine, August, 1932 



Edgar Wallace's 
Hollywood Diary 



Derby. One of them was a film star, 
who has just come out. Bryan knows 
her — Sari Maritza. She is a pretty 
little thing, under contract to Para- 
mount. I went down to have coffee 
with them — I had already had my din- 
ner. They all came back to the house 
afterwards, and Maritza, whose real 
name is Pat, had a horrible cold. I 
gave her a nasal douche and she stayed 
here till about eleven,' when I shot them 
home. It was the usual sort of enter- 
tainment I gave them — trying their 
voices on the dictaphone, etc. She is a 
nice girl. 

I find it a little difficult to get the 
story I want for my picture "Eighty 
Minutes." I think I told you about this 
before. I want the picture run just as 
long as the story runs; that is to say, 
all the action takes place in eighty 
minutes, and you have no idea how dif- 
ficult it is to compress a story without 
the bits that lead up. I wanted to start 
right away with a murder and a chase, 
but if I do this I can't get the neces- 
sary introductions of character, and so 
I have got to start it from another 
angle and allow myself ten minutes to 
plant the characters before the real 
action begins. In a play like this, one 
of the most difficult things is to give 
the occupation of the principal charac- 
ter, and that is really holding me up. 
I can make him a real estate agent or 
a banker, but if I make him a banker 
I've got to fit the action into banking 
hours, which means daylight, and as it 
is necessary to have a night sequence, 
I am a little stuck, but I think I shall 
overcome the difficulty. 

They are definitely not accepting 
"Kong" as a title, though Cooper still 
has hopes. If they don't take that, I 
am going to suggest as a title "King 
Ape." Cooper is extremely pleased 
with the story and is going into con- 
ference one day this next week. 

Friday, 15th January, 1932. 

GUY BOLTON, Michael and I 
lunched with Walsh, the man who 
produced "The Cock-Eyed World" and 
"What Price Glory?" He is tremen- 
dously interested in horses, and races 
at Agua Caliente. While he was mak- 
ing "What Price Glory?" he was driv- 
ing home in the dark and going at a 
pretty good lick when a rabbit jumped 
out, hit the windscreen and destroyed 
the sight of one eye. 

He has quite a beautiful house, but 
he is building a bigger one on the hill, 
and a ranch some way outside Los 
Angeles. It was a very interesting 
sort of meal. We talked horses all the 
time, and as poor Guy didn't know very 
much about racehorses, he should have 
been completely bored, but apparently 
it was interesting to him. 

At night I went to dine with Walter 
Huston. There were six of us: Dr. 
Owen Jones and his wife, another doc- 
tor and Greta Nissen, a film star. I 
like Walter very much indeed, and Nan 
(Mrs. Huston) is a grand person. We 
talked about you and Pat most of the 
evening— that is to say, during that 
part of the evening when she and I 
were talking at all. It was past mid- 
night before I realized that dinner was 
over. It was a beautiful dinner, with 
{Please turn to page 88) 

The New Movie Magazine, August, 1932 



lne fragrant Linit Deauty Dath 
brings instant relier from warm 

weather discomtort 




JUST a handful or more of the 
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The reason is that Linit leaves 



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The new, perfumed Linit is sold by gro- 
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THE BATHWAY TO A 
SOFT, SMOOTH SKIN 




87 



Edgar Wallace's Hollywood Diary 



California burgundy served, and it was 
really lovely wine. 

So often at .American dinner parties 
the idea of entertainment is to serve 
you raw whisky, than which there is 
nothing more sickening. 1 had a plen- 
tiful helping of very excellent brandy 
— in fact I had more to drink than I 
have had for a very long time. 

1 got home about one, and woke this 
morning to an amazing phenomenon: 
the ground was covered with snow. I 
don't think they have seen snow in 
Hollywood or Beverly Hills for gener- 
ations. 

Walter Huston is a tremendously 
nice man, and, as I say, Nan is a dar- 
ling. She was very tickled when I re- 
cited the Native Son verse, and told 
her that I'd got it from her by way 
of you. 

By this time next week — to be 
exact, on Wednesday — I shall know 
whether R.K.O. are taking up my 
option for another period of eight 
weeks. Until I know this we can't 
make any plans about your coming out. 

I like the place so much that in all 
probability I may come out earlier 
this year — that is, at the end of Sep- 
tember instead of November. I have 
already been asked whether I would 
like to fill in the time between March 



(Con I i nurd from page 87) 

and December, when my other contract 
starts — if they take up the option — 
with another contract for another film 
company. I don't think I should have 
any difficulty in fixing this, but I have 
told them that I am going home in any 
circumstances at the end of March. 

Cooper called me up last night and 
told me that everybody who had read 
"Kong" was enthusiastic. They say it 
is the best adventure story that has 
ever been written for the screen. It 
has yet to go past the executive, but 
I rather fancy there will be no kicks. 
We haven't yet got the girl. We've 
got to have a tiny for the part, but 
the tiny has got to act, and that, I 
think, is going to be the real difficulty 
more than the size. 

Saturday, 10th January, 1932. 

THE dinner last night at Virginia's 
was amusing. There were four 
people: the daughter of Mayer, of 
M.G.M., and her young husband; a man 
named Butler, who is a producer of 
some character, and his wife. 

Butler was amusing. He is a very 
good director, and one thing he told 
me was rather amusing. We were 
talking about how film companies 
change the titles of the books they buy, 
and he gave me an instance of a book 



that had been bought called "Pigs." 
When it was put over as a picture it 
was called "The Smile of a Cavalier," 
which I think is nearly one of the 
funniest. 

Hollywood abounds in stories about 
Sam Goldwyn. One of the latest I 
heard was that he and his wife were 
lying on the beach and he was intently 
watching a bird that was wheeling 
overhead. He said to his wife: "I like 
that pigeon." She replied: "It's not 
a pigeon, it's a gull." He said: "I 
don't care whether it's a gull or a 
boy, I like it." 

He was out playing golf with Irving 
Thalberg and Louis Mayer. At the 
end of one hole he said : "Irving, you 
took six for that. Louis, you took 
eight." Then he turned to the caddie: 
"What did I take, caddie?" 

An actor went in to settle a contract. 
He said: "I'm asking fifteen hundred 
a week." "You're not asking fifteen 
hundred a week," said Goldwyn firmly. 
"You're asking twelve, and I'm giving 
you a thousand." 

The other one, which I may have al- 
ready told you, was that after a propo- 
sition had been put up to him he 
brought his fist down on the table and 
said: "I'll give you my answer in two 
words — impossible !" 



The Town of Forgotten Faces 



Ella Hall was passing by. Miss Craw- 
ford was dressed in the costliest of 
furs. Diamonds shone from her fingers. 
A chauffeur stood at attention to ful- 
fill each and every command. Ella 
Hall was dressed in a Beaver coat. 
Her face looked tired and lined. Ella 
Hall paused for a moment to admire 
Miss Crawford, to watch her enter 
Magnin's, where dresses are cheap at 
two hundred dollars. For a moment 
she looked on enviously — or was it with 
pity? And then moved on with the 
crowd. 

Still more dramatic is the fact that 
since that day Miss Hall has secured 
for herself a job as saleslady at Mag- 
nin's — and perhaps she will wait upon 
Miss Crawford next time M-G-M's box- 
office girl goes to make a purchase. 

LESS than ten years ago Ella Hall 
> was the biggest star on the Uni- 
versal lot. She, too, had a limousine 
and a chauffeur and beautiful gowns 
and fur coats. On the same lot were 
Grace Cunard and Francis Ford. They 
were the most popular team in pictures 
then. Their co-starring serials were 
breaking box-office records. 

Today Grace Cunard does small 
parts on the same lot where she was 
once a topnotch star. And sometimes 
she works in the Universal wardrobe 
department, where she has friends. 
But she is happily married and lives 
with her cowboy husband in a little 
bungalow in San Fernando Valley. 

At that time at Universal were Mary 
MacLaren and Priscilla Dean. Miss 
MacLaren achieved stardom under Lois 
Weber's direction in the screen sensa- 
tion of that year, "Shoes," and followed 
it up with a series of money-making 



(Continued from page 39) 

starring pictures. She became Ella 
Hall's closest rival. On the same lot 
was a young, spirited girl named Pris- 
cilla Dean, who had lately become lead- 
ing woman in the Eddie Lyons-Lee 
Moran comedies. 

In a few years Miss Dean was to 
supplant both Miss Hall and Miss Mac- 
Laren as Universal's most brilliant 
star. Her "Virgin of Stamboul" put 
her at the very top. Her salary 
climbed into the thousands. Look for 
Monogram's "Wolves of the Sea." 
You'll see her in it — a less glamorous 
and attractive Priscilla than of yore. 
And if you look close enough you'll see 
William Farnum in the same picture — 
the William Farnum who used to make 
ten thousand a week and made a hobby 
of buying yachts. 

Miss MacLaren, too, has tried to 
come back, but without success. After 
her marriage to a British Army officer 
in India, she returned to Hollywood, be- 
cause India was so devastating, so de- 
manding. What can she say of Holly- 
wood — the Hollywood that has offered 
her no renewed success? 

VIRGINIA PEARSON! Remember 
her? She was all a siren should 
be — and a real beauty, too. The pet of 
the Vitagraph lot in those good old 
days when microphones were still un- 
heard of on movie sets. At the height 
of her success she left Vitagraph to 
organize her own company. She made 
one picture and was about to begin her 
second for the old Pathe releasing com- 
pany when she met with an automobile 
accident that so disfigured her that it 
was doubtful if she could ever be pho- 
tographed again. She and her hus- 
band, Sheldon Lewis, who was then a 



star, too, gathered together all their 
assets and hired the greatest surgeons 
in the world in an attempt to recapture 
that beauty that seemed to have been 
snatched from her by a cruel fate just 
when she needed it most. Plastic 
surgery was successful, after many 
months, in restoring to her, features 
that could be photographed — but in 
spite of everything the accident had 
left its mark. When the heartbreak- 
ing suspense was over, Miss Pearson 
and her loyal husband found them- 
selves broke. 

New Year's Eve I saw her walking 
down the Boulevard alone — window 
shopping. Around her and about her 
was the spirit of festivity; happy 
groups on their way to cabarets and 
parties and midnight shows. She ap- 
parently had no place to go, except 
back to the little hotel on the Boulevard 
where she lives. Life seems to have 
been unjust with her, for she is a good 
and a courageous woman. She doesn't 
complain. She walks with her head up. 

Once before, I had met her at a 
party and was impressed with her 
sincerity and charm and her spirit of 
youth. At that time she told me that 
she was playing, the Mary Magdalene 
in Hollywood's famous pilgrimage 
play. A splendid actress, I feel that 
her chance will come again to prove 
her right to a permanent place on the 
screen. Given character roles like 
Marjorie Rambeau and Marie Dressier, 
she, too, might win an Academy re- 
ward. 

THEN there is the once beautiful 
Alice Lake, who rose from comedy 
queen in Roscoe Arbuckle's slapstick 
pictures to be one of Metro's greatest 



88 



The New Movie Magazine, August, 1932 



The Town of 
Forgotten Faces 

dramatic bets. She, too, walks in the 
procession of the ghosts. Look care- 
fully in "The Cisco Kid" and you'll 
see her as one of the dance-hall gals 
that Edmund Lowe fools around with. 
Another beauty, Lillian Rich, once 
touted by DeMille as Swanson's suc- 
cessor, is seen none too often. Then 
there is the spectacle of George Hacka- 
thorne, once the highest paid character 
juvenile of the screen. When he played 
Norma Talmadge's son in "The Lady," 
not so many years ago, the world was 
his and invited him to every party. 

FORTUNATELY a few— a very few 
— saved their money and have some- 
thing left from the wreckage. 

Anita Stewart, more beautiful than 
ever, rides by in a specially built 
limousine, the wife of a young million- 
aire. Once a week she broadcasts from 
a local radio station, trying her voice 
out just for the fun of it. 

Grace Darmond, who with Pearl 
White starred in many of the popular 
Pathe serials, lives in a luxurious man- 
sion in Beverly Hills, contented and 
happily married to a man who made 
his millions in Mexican gold mines. 

George Walsh owns a ranch and sev- 
eral imported cars. He works in an 
executive capacity at Fox, where once 
he was a major star. 

Kathlyn Williams sports expensive 
furs and continues to be Pola Negri's 
best friend and advisor. 

Shirley Mason, married to Sidney 
Landafield, a young Fox director, has 
become a mother and a good housewife. 
Her sister, Viola Dana, has married 
again, after two tragic marriages — one 
that ended in death — the other in di- 
vorce. She commutes back and forth 
to Hollywood from Colorado, where she 
and her husband live. As Mrs. Jimmy 
Thompson, she seems to have found 
paradise at last. 

Theda Bara, married to Charles 
Brabin, Metro-Goldwyn director, has 
become a patron of the Arts. Mean- 
while she waits in luxury for her big 
chance to stage a comeback. 

William Farnum, fast turning gray, 
is doing character parts. Needless to 
say, it is not for his one-time ten thou- 
sand dollars a week. 

Each and every one of them has 
played a part in making motion pic- 
tures one of the greatest industries of 
the world. If there was a screen hall 
of fame, I would pay tribute to them 
by writing their names there in letters 
of gold. 

Perhaps some of these ghosts will 
some day shed their greying masks and 
emerge again into the limelight of the 
living. Only time will tell. Clara 
Kimball Young, Mae Marsh and a few 
others have already broken through 
that invisible stone wall that separates 
the screen dead from the living. 

How many more will make the 
grade? How many will be cast back 
into their graves? They are all trying. 
It is only human to want to survive, no 
matter in how small a way. In writing 
of these ghosts of the Boulevard, I can- 
not help but think of those immortal 
lines from Burke's "Wind and the 
Rain" . . . 

All living is hunger, 

And without hunger we perish — 

And the only worthwhile people 

Are those who are beginning again. 




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The New Movie Magazine, August, 1932 



89 



What's Wrong with This Country? 



There is an orchestra and lilting 
dancer as lovely in naivete as the Vir- 
gin <>f Guadalupe adorning the wall. 

After dinner you ascend the steps 
to the patio for dancing. You may de- 
tect celebrities in the dim candlelight. 

But be quiet if you do. This is Mex- 
ico, not Hollywood. A celebrity is a 
guest, not an exhibition. 

Governor Rolph slipped in for an 
evening and was not recognized for an 
hour. Even then he remained a guest. 

Aimee Semple McPherson signed the 
guest-book, giving her address as Los 
Angeles. A smart wag later crossed 
this out and added "Carmel." Sefiora 
de Bonzo was so grieved by this indig- 
nity that she cut the page from the 
book. Hollywood wisecracks have no 
place in La Golondrina. 

Mary Pickford, Douglas Fairbanks, 
Gloria Vanderbilt, Billie Burke, Will 
Rogers — these are a few distinguished 
names in the book. Even goddess 
Garbo need fear no blasphemy here. 
La Golondrina is a refuge for those 
tired of the Hollywood ballyhoo. And 
Garbo is not the only one. 

IN contrast to La Golondrina you 
have the Brown Derby on Vine 
Street in Los Angeles. Here the man- 
agers are just as obliging. They know 
the starlets like attention, and the 
lights are bright. 

Ramon Novarro dropped into my 
hotel the other evening wearing sweat 
shirt and khaki pants, direct from the 
last scenes of "Huddle." Our friend 
Manuel Reachi, another Mexican cava- 
lier, joined us, and went to the Brown 
Derby for dinner. We were no sooner 
seated than camera men appeared at 
the table. Ramon demurred with Lind- 
berghian modesty. Having been a pub- 
licity man, I took the side of the cam- 
era and Ramon consented. After all, 
the management was just being cour- 
teous. Most actors like such hos- 
pitable attention. Besides, the food is 
excellent and Wilson Mizner a fine, 
witty host. 

RAMON confided that he is quitting 
■ Hollywood soon. 

He has plans for a world concert 
tour. This is not publicity. 

The screen has never revealed No- 
varro at his best, as his friends know 
him. Singing the folk songs of Mexico, 
he sparkles with individual distinction, 
I can only compare his metier to that 
of Raquel Meller. And his is greater 
than hers in that he personifies and 
reveals the spirit of a fascinating 
people. 

Among films, "The Pagan" was the 
best exposition of Novarro. He has a 
primitive, childlike charm combined 
with a Scaramouche wit and wisdom. 

Novarro loves to act. An evening 
with him is a series of impersonations. 
The other night he gave me a complete 
revue of the New York shows. I ap- 
plauded particularly his imitation of 
Ed Wynn. Once in a compartment of 
an Italian train my howls of mirth 
brought an alarmed conductor. Ramon 
was doing Lillian Gish. After that he 
hung out the window, shouting "Ge- 
lati !" in the manner of the Italian ice- 
cream venders at the stations. 

When Ramon isn't acting he subsides 



(Continued from page 37) 

into a murky quietude that reminds 
me of a theater with the lights out. 
On such occasions when I have asked 
him suddenly what he was thinking 
about, he has replied: "Oh, a song," or 
"An idea for an act." 

Novarro is the theater in person. 

I RECEIVE more letters regarding 
Novarro than about any other star. 
This I attribute in part to the fact 
that I have written more about him 
than any other star during the past 
eight years. But the M-G-M studio 
considers Ramon the barometer of fan 
mail. He gets more than Garbo. 
Johnny Weissmuller sprung into sec- 
ond place after "Tarzan." A good sign 
for Johnny, who, like Ramon, is a 
likable, direct, simple fellow. 

Knowing the gifts of Novarro, one 
wonders at the producers. There are 
so many great characters and stories 
for him. And they give him "Huddle." 

RAMON has great admiration for 
• Garbo as an individual and as an 
actress. There has never been any ro- 
mance, in the sensational sense. 

"Miss Garbo is entirely an artist," 
Ramon says. "She is sincerely indif- 
ferent to money, publicity, ballyhoo. 
Her work is the only thing that mat- 
ters. She's terribly sensitive. She's 
like a frightened bird among people. 
She's really a great person. Knowing 
her, you realize how insincere and 
hypocritical most of us are." 

Ramon believes that Garbo has only 
indicated her ability. 

"Truly, I tell you I believe that girl 
will take a place with Duse and Bern- 
hardt among the immortal actresses," 
he says. 

THE Russian director, Serge Eisen- 
stein, tells the truth about Holly- 
wood in an interview for Variety: 

"There's too much laughter and bur- 
lesqueing and gagging about Holly- 
wood," he says. "I have no complaints 
to make. Everyone treated me with 
the greatest of respect. But there was 
such an aura of fear cast around me. 
And it wasn't because I was Russian, 
or a Bolshevik. It was that I might 
want to do something new or in a dif- 
ferent way." 

That is a true analysis of the trouble 
with Hollywood. 

Hollywood should be called Fear. 

Everyone is afraid of the boss. 

The boss is afraid of the Eastern 
office. 

The Eastern officials are afraid of 
anything new. 

"As soon as they find out an opposi- 
tion company is making a gangster 
picture, or a doctor picture, or a law- 
yer picture, they rush into an imita- 
tion or similar thing," says Mr. Eisen- 
stein. 

He adds that the only two new 
things in the last two years are "All 
Quiet" and "Grand Hotel." He might 
add that the only things making money 
are the new things. 

But Hollywood is no different from 
the rest of the country in this respect. 
Everything new is considered "radi- 
cal." Sunk in depression, our govern- 
ment clings to the old forms. Any- 
thing new is "radical" if not "bolshe- 



vistic." We seem to have become a 
country of cowards. But it is lack of 
leadership that makes us appear that 
way. In Hollywood, when a Thalberg 
or a young Laemmle dares to be dif- 
ferent, the public quickly rallies around 
him. What Hollywood needs, as the 
country needs, is daring, honest leaders. 

MIKE LEVEE has a plan for co- 
operative picture-making. Pro- 
ducers, writers, stars, directors, techni- 
cians — everyone sharing in the profits 
of their work. Sounds like communism, 
but it's logical. I think everyone in 
any business would work harder if 
there were a community spirit. Mr. 
Levee understands the temperament of 
artists. He knows that the only ones 
worth while are interested primarily 
in their work. Thomas H. Ince real- 
ized this, too, and had people working 
for him for less money than they could 
get with other companies. He humored 
them in their views. The idea that 
money is everything has proven falla- 
cious. Garbo, for instance, would not 
go back to Europe if permitted a voice 
in expressing herself. Since art is in- 
dividual expression, the salvation of 
the industry depends on the overthrow 
of the czars in favor of men with the 
democratic wisdom of Levee. 

HOLLYWOOD is the world in close- 
up. You live for a day and die 
tomorrow. Luxury, then poverty. 

I have received many letters from 
idols of yesterday who now are in ab- 
ject poverty. One, from a glittering- 
star of past years: 

"You have no idea of my last two 
years. It was life intensely lived and 
consciously felt by an erstwhile lumi- 
nary who watched the tell-tale shadows 
creep ominously around her eyes while 
the younger generation ruthlessly 
crashed in where she was no longer 
wanted. . . . It's all like a comic parade. 
If I let it seem real and permanent, 
you would read of the old Venus torso 
dangling by a rope behind the shadows 
of the red barn door. . . ." 

TO carry pessimism a bit further, I 
have a note from a lady that reads : 
"I'm mean tonight. My new Russian 
boots just arrived, and I wore 'em to 
tea at the Spanish embassy, thinking, 
of course, that everyone would mur- 
mur how much I looked like Garbo. A 
solicitous aide inquired if I wouldn't 
care to leave my 'overshoes' in the 
dressing-room ! ! ! !" 



Will Hays and Will Irwin 

Beginning next month — September — in 
the NEW MOVIE MAGAZINE will be 
one of the most interesting features 
ever published" in a motion picture 
magazine — The Inside Story of Will 
Hays' Ten Years in the Movies, written 
by the man who many consider 
America's greatest reporter, Will Irwin. 
For the first time in his movie career, 
Mr. Hays has divulged many secrets, 
and has given to Mr. Irwin a great 
many hitherto undisclosed facts. 

Nothing of this weight and im- 
portance, as well as interest, has ever 
before appeared in any magazine de- 
voted to the motion pictures. 



90 



The New Movie Magazine, August, 1932 



I Knew Them When 

(Continued from page 73) 

'*TN those days," laughed the pro- 
1 ducer, "we made all our tests in 
one place. Out in the valley, near 
what is now Lankershim, was a beau- 
tiful rose bush. When we had a girl 
to test we loaded her and the camera 
into our surrey and drove to the rose 
bush. We always placed her behind it, 
looking through the bush and daintily 
smelling a rose. Almost any girl 
would photograph well in such a set- 
ting, so they nearly all passed our 
tests. Betty Compson, Laura La 
Plante, Barbara La Marr, Colleen 
Moore, Louise Fazenda and a number 
of others took the rose bush test for 
me. 

"Betty had been earning $25 a week 
on the stage, and when I offered her 
the fabulous sum of $50, she almost 
fainted. She was with me a long time, 
but finally I had to fire her, and if I 

hadn't " Mr. Christie paused and 

then smiled, "but that's another story 
which we'll come to later. 

"I found Charlie Chase and Frank 
Lloyd in a Main Street burlesque, too. 
They were chorus men, but when they 
came to me they not only acted before 
the camera but they swept the sets, 
did carpenter work, painted walls or 
did any job that had to be done. 
Motion picture actors of those times 
weren't the coddled darlings they are 
today, believe me. 

"Colleen Moore didn't do her first 
picture work for me, but it was in 
Christie Comedies that she got her 
first chance. She had been playing 
extra over at Fine Arts, but one day 
she came over to convince me that she 
was too good for that. She was a cute 
little trick and there is one thing about 
her I remember distinctly. She could 
make the tears flow whenever she 
wanted to and between shots she was 
always walking up to some one on the 
set with the question: 

" 'You want to see me cry?' 

"TT was about 1910 that Mary Lewis, 
A now a prima donna, came out to 
the studio. She had been singing in a 
San Francisco cafe, but wanted to try 
pictures. I gave her a job and put her 
in a comedy called 'The Ugly Duck- 
ling.' She was all right, but the other 
players complained that she annoyed 
them by always singing around the 
studio — only they didn't call it singing. 
I spoke to her about it and she got 
mad. 

" 'You tell those people,' said Mary, 
'that one of these days when I'm a 
grand opera star they'll be paying to 
hear me sing!' 

"And although I smiled, I guess 
most of the company, including myself, 
have paid to hear her. 

"Yes, we used to have great times 
in those days. Back of the studio were 
the stables where the beer garden 
patrons used to park their horses while 
they were inside making whoopee. We 
turned the stalls into dressing rooms 
for our actors. Lon Chaney and Lee 
Moran used to share the same stall. 
Lon used to bring his baby son, Creigh- 
ton, now a Los Angeles business man, 
out to the studio with him in the morn- 
ings. He had rigged a little hammock 
in the stall, in which he would rock 
Creighton to sleep and then slip back 
in between shots to see if the baby was 
all right. 



The New Movie Magazine, August, 1932 



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91 




If I Were a Movie Producer 



if I didn't know it myself and knew I 
didn't, I'd hire a real editor to know it 
for me. 

Magazines always manage to hire 
such men. Why shouldn't a movie pro- 
ducer do the same? 

In this connection I am reminded of 
an experience of my own. In 1915 I 
sold two of the best short stories I have 
ever written to a certain large pro- 
ducer for $1,000 each. They were not 
produced, the purchaser alleging that 
they were western and that westerns 
had gone out of fashion. Of course I 
knew they'd never go out of fashion, 
provided the stories were real stories, 
so I secured an option to repurchase 
both stories for $1,000. 

Within an hour I had sold one for 
$1,500. I kept the other five years and 
then one day slipped in, like the crook 
I am, and sold that story back to the 
original purchaser for $7,500. And he 
never knew the difference! 

IF I were a producer I'd be mighty 
certain that my supervisor of pro- 
ductions knew his business and wasn't 
continually guessing at it. Back in 1921 
I sold what purported to be a com- 
edy of married life to a very big pro- 
ducer, and I inveigled him into per- 
mitting me to name the man who was 
to break the story up into scenes — in 
the parlance of the movie lot, the con- 
tinuity writer. I knew this continuity 
writer had brains and would dramatize 
my story and not one of his own. 

Well, the story was produced; then, 
for nine weeks the Brain Trust on that 
lot fought to fit titles to it. But no mat- 
ter what they wrote there wasn't a 
laugh in that picture, so in desperation 
they invited me down to look at it. 

Of course I knew instantly that some- 
thing was wrong or I would not have 
been invited. And I was right. My 
story had been produced as written, the 
picture had been admirably cast, splen- 
didly directed and beautifully photo- 
graphed. But it was a dud. The man- 
ager asked me what was wrong with 
my picture and I murmured, "Titles. 
Your titles are not the words my char- 
acters would speak. They are written 
in flippant, cheap, gutter English, like 
the words in the comic balloons. 

"Well," said the manager, "we can't 
release that picture. It will have to 
be charged off to profit and loss — 
$89,000 worth of it." 

"Oh, say not so," I pleaded. "I can 
make that celluloid corpse get up and 
dance a jig." 

So he bargained with me and finally 
I agreed to do it for $1,500 — this after 
I had, like a babbling fool, calmly an- 
nounced that I could do the job in less 
than four hours. Remember, the Brain 
Trust had been nine weeks on it. 

Fifteen hundred dollars is a lot of 
money for a four-hour job and it was 
mighty poor business on my part to 
have bragged of my speed and ability, 
although really I wasn't bragging. I 
merely stated I could do something I 
knew I could do, for the titles were al- 
ready written — spoken lines in my 
original story and the producer owned 
those titles ! They merely required 
editing! 

Well, I did the job in three hours and 
twenty minutes, we cut the new titles 
in, gave a preview in Hollywood — 



(Continued from page 21) 

and the picture was a riot of laughter. 
The last I heard of it that picture had 
grossed over $400,000. 

IN the talkies the spoken lines now 
take the place of the titles in the old 
silent films. Well, if I were a producer 
I'd know the right lines when I heard 
them spoken. 

If I were a producer I'd never buy 
an impossible motion-picture story be- 
cause it had been written by a very 
prominent author. Many years ago 
an independent producer purchased 
rights to the late Jack London's novel, 
"The Muting of the Elsinore." Then 
he wired me to read the book and tell 
him if it could be produced in celluloid. 




I'hnhi bv Wide World 
Now that Anita Louise, baby star, is com- 
pleting her A-B-C schooling, she's taking on 
other lessons — aviation. And they do say 
she's soaring with the best of the stars. 

I read it and told him he had purchased 
an impossible story; that the action of 
the story all took place on the deck of a 
square-rigged ship rounding Cape Horn 
and that there was no plot. He wired 
back: "You misunderstood my request. 
I know Jack London's story cannot be 
produced, but a story by you can. I 
have the title and a Big Name, haven't 
I? Come down and get busy." 

Now, I suspected so strongly that I 
almost knew, that as yet this producer 
had not purchased the rights to "The 
Muting of the Elsinore," nor would he 
until he had found some author who 
could write him a new story around 
that title! 

In life Jack London had been my 
friend, and I didn't think it would be 
cricket of me to keep his widow out of 
ten or twenty thousand dollars by be- 
ing too ethical; so I ran down to Holly- 
wood and the producer, the director, 
the continuity writer and I went to din- 
ner and between the soup and the nuts 
I threw together verbally a story that 
could be produced — a story of a bucko 
mate and ships and tugs and brass 
knuckles and intrigue and mutiny. And 
the ship was named Elsinore! 

Very simple, indeed. The following 
night, with $2,500 for my fee as con- 
sulting engineer, I fled home. The pic- 



ture was rather good and I hope, should 
Charmian London read this confession, 
that she will not hold it against me. 
Without my aid she would not have 
made a sale. 

If I were a producer I'd know after 
I had produced a story whether I had 
finished the production or not. A case 
in point: 

Once upon a time one of the very 
largest producers made a historical pic- 
ture that cost over $2,000,000. About 
the time they were ready to release 
it the picture began to pall on them. 
It seemed to lack vitality, so they de- 
cided to hire me, at a fee of $5,000, to 
write a crackerjack set of titles. 

I looked at the picture and decided 
that their staff man had done a per- 
fectly wonderful job of titling. What's 
more, he knew he had and I think he 
resented me. I fanned around for ten 
days wondering how I could earn my 
fee without convicting myself of high- 
way robbery, and in the interim the 
general manager, thinking I had had 
my titles cut in, took the picture up to 
the home of the Big Chief for a pre- 
view. 

The Big Chief was delighted. The 
same old titles were there but I had 
snipped about a thousand feet of ex- 
traneous film out of the picture and 
rather snapped it up a bit. 

"How fortunate," said the Big Chief, 
"that we hired Peter B. Kyne to do 
those titles." 

The manager said the same thing 
next morning to the director, who in- 
stantly enlightened him as to the true 
situation. Horrible ! I was summoned 
to the office and the dreadful tale was 
told. 

"Now," said the general manager, 
"you hold a contract to write those 
titles and you can enforce the collection 
of your $5,000, but — we do not want 
your titles now ! The ones we have are 
gorgeous. If you'll just write us a 
bally-hoo, flag-waving, patriotic fore- 
word, of say about eighty words, and 
settle your contract for $2,500, I'll hand 
you out another job so you can, event- 
ually, catch even." 

I had been trying to butt in and tell 
him I wouldn't charge him a cent — 
that here was his contract, etc., but he 
wanted to do the talking. So when he 
offered to settle on such generous terms 
I bowed sadly and said I was willing to 
adjust on that basis! 

We did — and everybody was happy 
for a week. Then the old doubts arose 
about those titles. I am informed they 
hired Rupert Hughes, an able crafts- 
man, to do a new set of titles and Rup- 
ert did his customary good job, al- 
though I knew he could do no better 
than the underpaid staff writer. 

The bird of joy fluttered over the 
scene for a month — then Rupert's titles 
began to look awful, so in desperation 
they cut the staff man's original titles 
back into the picture and turned it 
loose on an expectant world. I think 
they more than got back their $2,000,- 
000 production cost. 

IF I were an independent producer I'd 
make no more than four pictures a 
year, but — they would be pictures. I 
would avoid all silly symbolism, all sex, 
all shocks to the nervous system and 
concentrate on heart throbs. I'd be for 



92 



The New Movie Magazine, August, 1932 



If I Were a Movie 
Producer 



high romance, for purple and old 
swords. 

I wouldn't turn a crank until I had 
my dramatization all ready to shoot, 
until I had all my sets built and all my 
locations selected for the outdoor shots. 
Then I'd hand the script to my high 
and mighty producer and say: "Here 
it is, boy. Shoot it as is. If you 
change a line of it I'll hire you killed." 

If he objected and wanted to be ed- 
itor as well as director, I'd fire him and 
try somebody else and I'd keep on try- 
ing until I found the right man. 

I have already cited two instances 
of my own stories, produced as I wrote 
them, which, after having been deemed 
rank failures, proved very good suc- 
cesses. But these were both accidents. 

When Louis Milestone made "All 
Quiet On the Western Front," however, 
and followed Remarque's story so faith- 
fully, that was not an accident, al- 
though from the studio gossip I gather 
that it almost resulted in bloody mur- 
der. 

The strange madness to change that 
dramatic, moving story seized the staff 
writers. They and their henchmen all 
knew how to improve the story. 

However, the gallant Milestone knew 
they couldn't improve on anything ex- 
cept themselves and to do that they'd 
have to go out in the alley and cut their 
throats. He wouldn't obey orders. The 
artist in the man made a rebel of him. 

When that picture was released, few 
except Milestone and his cast expected 
it to be a success. And what a success 
it was! It made Louis Milestone and 
to prove that "All Quiet On the West- 
ern Front" was premeditated, all you 
have to do is see other pictures this 
revolutionary person has directed. 

IF I were a producer I would scuttle 
all the cobwebbed traditions of the 
Dion Boucicault era of histrionics, for 
they have no place in the films and their 
place in the legitimate drama was va- 
cant forty years ago! For years that 
tradition kept my not-too-stable reason 
tottering on its throne. 

It is sad to think that so few good 
pictures — pictures that are really en- 
tertaining — rise to the top of the mo- 
tion picture pot. Yet, if I would be 
fair, I think it most amazing that so 
many good pictures do emerge out of 
the froth. It is a healthy sign. The 
producers are slowly learning. 

There is nothing like the current 
Depression to induce clear and cogent 
thinking. 

In conclusion, if I were a producer, 
I would never permit a war in Shang- 
hai to stampede me into scouring the 
market for a war story with the setting 
in Shanghai. When a picture like 
"Hell Divers" appeared, I would not at- 
tribute its success to a yearning on the 
part of the public to see pictures quite 
filled with airplanes. When a De- 
pression came along I would try to for- 
get it and not prowl around for stories 
with the said Depression as the motif 
or locale. 

By Jiminy, I wouldn't care a hoot 
in hell what the public likes or what I 
thought it liked, I'd be such an egotist 
I'd give the public what I liked, and if 
that course busted me — well, let 'er 
bust. 

Only it wouldn't! 




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The New Movie Magazine, August, 1932 



93 



Movie Cook-Coos 



president. The thirty-five membersare 
comics, writers and gag men. The club 
is affiliated with the Bombay Cycle 
Association of America, the North 
American Citrus Feelers' Guild, and 
the Prefix and Suflix Downs Society. 
The purpose of the dub is to have no 
purpose. 

SPEAKERS addressing- the Asthma 
Club are asked to observe one rule 
— and that is, when talking, stress the 
bad condition of the motion picture 
business. At one meeting the secretary 
reported that club members might be 
interested to know that "there is good 
deer hunting now in the balconies of all 
the motion picture theaters." 

THERE is an unwritten law, in the 
Asthma Club, that no member shall 
ever strike the president. But mem- 
bers can say what they please, or leave 
the room. Or both. Which was the 
course Donald Ogden Stewart took at a 
recent meeting. After he had de- 
parted (and he waved good-bye, thumb 
to nose), President Marx observed: 

"What a nice club this is after Stew- 
art leaves." 

There was a silence. And then Don 
Herold spoke up. 

"But," he said to the president, "you 
should attend a meeting some day when 
you're not here and see how nice it is." 

BE that as it may — 
Jean Harlow is wearing a red wig 
at formal evening affairs. 

Ethel Barrymore will star with John 
and Lionel, and half a dozen writers 
are trying to prepare a script to suit 
them. 

Dietrich and Chevalier may be 
teamed in a stage show which Lubitsch 
is eager to stage in January. 

There are now 346 experienced child 
actors on the studio casting lists in 
Hollywood. 

Eighteen guest rooms were added to 
Pickfair to take care of people Mary 
and Doug are entertaining during the 
Olympic games. 

Helen Hayes plays opposite Clark 
Gable in "Bridge vs. Bridge" as soon 
as Gable finishes "China Seas." 

When Jack Warner was handed a 
gavel at a meeting of the Academy of 
Arts and Sciences, his first remark 
was: "I better lay this thing down 
before I knock myself out." 

When Al G. Barnes' circus played 
Los Angeles, all the billboards carried 
posters showing a saucer-lipped Ubangi 
chieftain frcm Africa. 

"Very smart," observed a Poverty 
Row m.p. producer, "for dot circus to 
cash in on Chevalier's popularity." 

AND they hang all kinds of stories 
on Samuel Goldwyn in Hollywood 
— and probably have him say things he 
never said. In fact, many of the dia- 
logue lines in the stage satires on 
Hollywood are remarks originally at- 
tributed to Samuel Goldwyn. 

There's the time, for example, when 
he had just signed Ben Hecht to write 



(Continued from pageBB) 

a play for Ronald Colman. Placing an 
arm around Hecht's shoulder, Sam is 
alleged to have remarked: 

"We can't go wrong. When we have 
an actor like Colman, and a good direc- 
tor and a first -class playwright, we 
have the mucus of a successful organi- 
zation." 

WITH Warner Brothers wringing 
their hands and moaning low 
about expenses, George Arliss agreed 
to a cut of $20,000 salary per picture. 

Which means $00,000 instead of 
$80,000. 

DOUG FAIRBANKS has a short 
answer for picture people who 
don't know where their next Rolls- 
Royce is coming from. 

"You can live in Tahiti for ninety 
cents a week," Doug tells them. 

RERI, the 19-yeai'-old native girl 
. who played in "Tabu," spent a few 
days in Hollywood, where she re- 
hearsed and then went out for forty 
weeks with Fanchon and Marco. 

She is accompanied by her guardian, 
Mildren Luber, a native of Warsaw. 

RERI wears a gold locket at her 
. throat. The words, "Tabu: For- 
bidden Love" are engraved on the 
locket. She also wears gold earrings, 
a wrist-watch and carries a gold per- 
fume box. All are gifts from a Greek 
florist in New York. 

SHE plans to make a trip to Germany 
to lay flowers on the grave of Mur- 
nau, the director who discovered her 
in Tahiti and taught her how to pluck 
her eyebrows. 

And to some of us it seems 
there's nothing more regular than 
the recurrence of motion picture 
cycles, unless it's the recurrence of 
announcements that there will be 
no more cycles. 

For years and years we've heard 

just how 
The gals who stoop to folly would 
Come to no good end. Ah, but 

now 
Films show all's well that ends 

in Hollywood. 

OUT in Staunton, Illinois, the Hon. 
Mr. Chaw Mank does a little radio 
announcing and leads the Chaw Mank 
Blue Ribbon Dance Band. But that's 
not all. He owns, operates and guides 
the Clara Bow Club and the Movie 
Fans' Friendship Club. For fifty cents 
a head, the whole world can join 
Chaw's big-hearted organization. 

Chaw has dashed off a little 
verse which reveals one of his ma- 
jor ambitions. Here it is: 

Oh, Clara Bow, dear Clara Bow, 
The Movie Fans are hoping so 
That on the screen in every show 
We soon shall see our Clara Bow. 



HE also operates a "Pick-a-Pen-Pal" 
department, through which one 
Clara Bow enthusiast can write to 
another. 

Chaw gives a prize each month 
to the club member who sends him 
the most stamps. 

The progressive acting of Miss 
Crawford, Joan, 

Makes some people cheer and some 
people groan. 

But still all opinion should be most 
emphatic 

That she is a gal who is very dra- 
matic, 

For how she can act (Ah!) and 
wildly emote (Oh!) 

When striking her pose for a news 
roto photo. 

GARBO'S unrelenting aloofness has 
amused, annoyed and puzzled 
Hollywood. But her superb acting in 
"Grand Hotel" won her a triumph that 
sent her spirits soaring. For the first 
time in months she appeared at the 
studio in a happy frame of mind — ap- 
parently free from the melancholia 
which engulfed her. Or was this sud- 
den change in manner due to the fact 
that she was leaving this country in 
search of more complete isolation? 
She became gracious, light-hearted. 
Strangely enough, the quick transition 
from depression to ecstasy paralleled 
her role in "Grand Hotel." 

THIS is one reasonable explanation 
of Garbo's psychic dilemma which 
may mean little or much. As a girl, 
she grew rapidly. Doubtless she passed 
through a stage when she was very 
conscious of a physical awkwardness. 
She was very tall. Too tall. Psychol- 
ogists will tell you that the doubts and 
uncertainties of adolescence take a ter- 
rifying grip upon a personality. It 
sometimes takes years to shed the em- 
barrassments of adolescence — to forget 
the doubts and fears of youth. Per- 
haps, all along, Garbo has never been 
quite sure of herself. Or of the pub- 
lic. And certainly unsure of Holly- 
wood's attitude. She found escape in 
remaining aloof — the psychologists 
sometimes call it crowd phobia. A final 
assurance of artistic success, such as 
Garbo must have realized after "Grand 
Hotel," could have, and perhaps did, 
go a long way toward releasing her 
spirit. 

Fancy writing, that, eh, tvhat? 

Though dealing with ladies who're 
loose, or with crooks, 

The very self-satisfied Mr. Clive 
Brook 

Refuses to wjeaken, relax or relent 

In his technique of showing that 
he is a gent. 

But still it is soothing, both sooth- 
ing and restful; 

'Twould sadden us much to find him 
growing zestful. 



Our 

for 


circu 
every 


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room 


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BRIGHTEN YOUR HOME 

Your Home with Color," gives charts and explicit directions for 
r house. Send 10 cents, plus 4 cents postage, to The Home 
New Movie Magazine, 55 Fifth Avenue, New York City. 


choosing 
Beautiful 


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Editor, care of 



94 



The Neiv Movie Magazine, August, 1932 



Can Mary Pickford 
Come Back? 

(Continued from page 25) 

story which will give us Mary Pick- 
ford, the woman, one of the great ac- 
tresses and personalities of the screen, 
as they once gave us Mary Pickford, 
the girl? 

I happened to be at Frances Marion's 
home when this telegram came: 

"Frances, darling: On my way home 
at last. So happy I can hardly breathe 
over the thought that we are to be to- 
gether again and work on a beautiful 
story as we used to do. Meet me at 
San Bernardino. Devoted love. Mary." 

Frances handed it to me, and I no- 
ticed that her eyes were wet. 

For the new Mary Pickford picture 
isn't going to be just a motion picture 
— just another business venture. It's 
going to be the culmination of an ideal, 
the justification of a great work done 
which two women who did it believe 
mustn't be allowed to crumble away. 

"Mary's such a great actress," Fran- 
ces Marion said. "No one has more to 
give than she has. But they just 
haven't known how to handle her." 

NOT so very long ago, Mary Pick- 
ford, standing in the garden of 
Pickfair, looking rather wistfully out 
at the distant silver line of the sea, 
said: "You know, Frances understands 
me so well. I want to make a great 
picture — but somehow I feel we should 
do it together." 

And as I watched her, the stately, 
queenly little lady who in the heart of 
Hollywood is still enshrined as the 
First Lady of the screen, I remem- 
bered those two young things, starting 
out so blithely to conquer the world, 
and so blithely succeeding. Pictures 
came to my mind — Mary and Frances, 
giggling like schoolgirls behind a set 
while they planned some mad Irish 
prank to discommode a dignified execu- 
tive. Mary and Frances, driving to- 
gether in Frances' big roadster, in the 
days when Mary was almost as much 
a mystery as Garbo is today — and I 
saw again the famous golden curls and 
the gleaming bronze ones, and two 
pairs of shining, eager young eyes, 
peeping out at the world which paid 
them so much honor. 

Somewhere, in the years between 
then and now, Mary Pickford lost her 
way. 

Success after success she had piled 
up. One on top of another. Together 
she and Frances made thirteen box- 
office knockouts in a row, without one 
failure. The world's record, as far as 
I know. 

Then fate — and business — and many 
things separated them, and somewhere, 
Mary lost her way. 

And Mary Pickford cut off the curls 
that had been the symbol of all that 
she meant to audiences everywhere. 
The golden curls that had made her 
America's sweetheart, the pattern of 
girlhood, the idol of age and of youth 
alike. 

It was a great gesture. 

YOU must never forget that Mary 
Pickford loved motion pictures as 
no one else has ever loved them. Her 
whole life had been motion pictures, 
and the industry had grown with her 
and by her and she had ruled it. She 
(Please turn to page 96) 




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The New Movie Magazine, August, 1932 



95 



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Can Mary Pickford Come Back? 



(Continued from jmgc 95) 



didn't come from the stage, she didn't 
come from any distance. She had 
watched pictures grow into a great art 
and they were her life. 

But she didn't seem able to make for 
herself the necessary adjustment to 
new conditions. 

Funny, how simple it all seems. 

All she needed was the right story 
— the story that would bridge for her 
the great gulf of the world's change, 
the great gulf of her own change from 
the little girl with the curls to the 
woman without them. 

Just a story. 

And so it was that across that gulf 
the two friends looked at each other 
and remembered. Mary, with a divine 
faith in the old partnership and a 
complete belief in Frances. And Fran- 
ces with a great understanding of 
Mary's genius which must be saved. 

After all we are made of our memo- 
ries. Take them from us — and we are 
no longer ourselves. 

Memory brought them many things. 

What fun they had always had to- 
gether. How they had laughed and 
played while they made pictures. How 
easily the inspirations had come which 
made such great things as "Stella 
Maris" and "Daddy Long-Legs." How 
surely Frances had known exactly 
what Mary could do best and how Mary 
had lifted the body of Frances' scenes 
into glowing life. 

Then there were so many other 
things. 

YOU see, though they happened to 
win the love and stir the imagina- 
tion of a world, these two started out 
exactly as any two girls in high school 
might start, and they went through all 
their private griefs and joys, sorrows, 
troubles, triumphs together. 

When they met, neither of them had 
achieved fame. Frances was a com- 
mercial artist, drawing theatrical post- 
ers and street-car ads. Mary was just 
beginning to be known in the then much 
smaller field of picture audiences. 

But Frances had an idea for a story 
germinating in that ever-active, fertile 
brain of hers. So, very shy, quite 
frightened, she made her way into a 
picture studio — it wasn't so hard in 
those days — and told that story to an- 
other shy, rather frightened girl whose 
name she had seen upon a picture 
screen. 

That story was "The Foundling," 
Mary Pickford's first great success. 

"It's funny," Mary told me once, "but 
the moment I saw Frances I knew we 
were going to be — best friends, as we 
used to say when we were kids. You 
know, in those days I was very shy, 
and I never went anywhere, and I 
worked very hard. I didn't have any 
friends. But Frances and I just seemed 
to find each other at once." 

So from that time on, Hollywood be- 
came used to Mary and Frances. You 
seldom saw one without the other. 
Whatever came, they shared. They 
wore each other's clothes, read each 
other's mail, thought up stories and 
pranks indiscriminately, talked over 
everything that came into their lives. 

Mary married Douglas Fairbanks 
and Frances married the world's cham- 
pion athlete, Fred Thomson, and the 
four of them went to Europe on a 
honeymoon. 



Then, business separated them. The 
picture industry had grown very big 
and very important. Everybody took 
things much more seriously. The old 
happy days when Mary and Frances 
and Marshall Neilan used to get to- 
gether and work out stories and go and 
shoot them all in the spirit of a grand 
picnic, were gone. 

SOMEHOW, without quite knowing 
how it all happened, Frances found 
herself working for other stars for 
fabulous sums — and Mary found her- 
self hiring famous and very important 
English playwrights. 

As friends, as women, they were 
never separated. 

When Mary lost her idolized mother, 
it was in Frances' arms that she cried 
out her dreadful grief. 

When Fred Thomson died in the 
prime of his manhood and left his 
widow desolate, it was Mary who 
rushed to her side and gave her such 
consolation as might be. 

"You know," Frances said to me the 
other night, "old friendships are the 
greatest things in life. I know that 
now. You can't tear apart lives that 
are grown together by years of things 
shared." 

So came the day when the highest 
paid and most famous writer in Holly- 
wood — so far as Hollywood is con- 
cerned — looked across at Irving Thal- 
berg and upset all sorts of enormous 
plans and important programs by ask- 
ing for a leave of absence to go back 
to Mary Pickford. The day when 
Mary, having searched the world over 
for writers, for stories, among the 
great, ready to pay any price, turned 
back to the girl who wrote "The Found- 
ling" — the great success of her early 
youth, who wrote "Stella Maris," the 
great success of her great days. 

Will this coming story be the one 
that will win again for Mary her old 
place in the sun? Will they together, 
inspiring each other as they used to do, 
click with a final box-office success to 
add to that impressive list? 

Maybe I'm a fool. Maybe I still be- 
lieve in Santa Claus. 

But I know they will. There is, there 
must be, power in faith and love and 
joy. There must be a moving force in 
loyalty and devotion. There must have 
been between those two kids who 
started out so blithely and gaily to 
reach the top, and who reached it be- 
yond their wildest dreams, a spark of 
something greater than we are. 

The picture that Mary Pickford and 
Frances Marion are doing together, 
the fourteenth picture in their long, 
unbroken line of successes, just must 
have a lucky star over it. It isn't just 
a picture — it's a culmination of some- 
thing beautiful, an offering upon the 
altar of friendship. 

I think we who loved Mary Pickford 
as we've never loved any other picture 
star, will see her again — not as she 
once was. We don't want to. But we 
will see the woman we always knew 
she must become — and, after all, women 
are much more interesting than girls. 

And the new generation of picture 
fans, who don't remember Our Mary, 
will at last understand why we have 
never quite been able to replace her. 

They made history once, believe me! 

They'll do it again! 



96 



The New Movie Magazine, August, 1932 



Platinum Turns to Gold 



(Continued from page 41) 



suburban home about thirty-five min- 
utes out. Never cared much for dolls. 
Wanted living things like pet lambs 
and dogs and even calves which grew 
into cows and had to be relinquished. 
Went to dancing school and to parties 
and never dreamed that she would be 
an actress. 

At sixteen she fell in love. Grandly 
and completely. With a boy of twenty. 
So they ran away and were married. 
Jean went to California as a bride. 
The families forgave, and all was well. 

But that very young and very grand 
present didn't last. Before she was 
eighteen Jean was divorced. 

Pure chance brought the movies. 
California was California to her. Not 
Cinemaland. . . . She went with a girl 
friend to a studio one day. And while 
she waited for this other girl, Jean was 
seen. Someone gave her a letter to the 
studio's casting director. Jean took it 
home and forgot about it. 

Then, at a party, she mentioned the 
letter. Her friends told her she didn't 
have the nerve to try it. . . . So she did. 
Played a few extra bits. It was fun. 
But only fun. 

Hal Roche offered her a contract in 
his comedies. Jean thought it was 
swell. She signed and appeared in two 
or three two-reelers. In one of them 
she wore a lacy black thing called ted- 
dies or something like that. . . . Now, 
back in Kansas City, Jean had a grand- 
father and he saw the comedy in which 
Jean wore the lacy thingamajigs. . . . 
And nothing else except her platinum 
hair and her white skin. The wires 
were sizzling that evening, and the 
next day Jean asked Hal Roach to re- 
lease her from her contract. He did. 

She thought her picture days were 
over. But at a dinner one evening she 
met Ben Lyon and Jimmy Hall. They 
talked Howard Hughes into giving her 
the role of the girl in "Hell's Angels." 
And they talked Jean into playing 
it. . . . 

ONE day the youngster from Kansas 
City awoke to find she was a 
screen siren of the deadliest variety. 
Didn't know what to do about it. Liv- 
ing with her mother and her stepfather 
in an old English house, she scarcely 
had the sirenic background. ... So she 
decided to do nothing about it. Just to 
be Jean Harlow. 

That's what she is. Just Jean Har- 
low. And terribly young. . . . Likes 
dogs. It used to be Great Danes. Now 
it's wire-haired fox terriers. She loves 
to ride horseback and to swim. In a 
white bathing suit with a shiny black 
skull cap. Only a tiny bit of the 
famous white hair peeping out under- 
neath. But that's enough. You know 
the effect. 

Her dinner parties are great. She 
seems to know just the right people to 
make a good combination of wit and 



fun. An excellent hostess. And what 
a cook! Not fancy stuff. Real, hon- 
est-to-goodness food that hits the 
spot. 

Jean's mother fits into the picture 
perfectly. She is as good-looking as 
Jean. ... In a different way, of course. 
Her hair is sleek instead of fluffy, 
blonde rather than platinum. 

Jean wears little jewelry. One or 
two really good pieces, that's all. She 
drives a swanky coupe, a popular 
model. Not foreign or conspicuous. 
Uses only one kind of perfume. A 
happy mixture of the exotic and the 
flowery odors. She always carries a 
tiny jade elephant for good luck. 

She loves black and white. White 
for evening. Black tailored clothes for 
daytime wear. Likes pearl earrings. 
Large ones to add a touch of sophisti- 
cation to the simplicity of her street 
clothes. Hates to shop. Her mother 
buys all her clothes. Fittings are the 
bane of Jean's existence. 

EVERY week she shampoos her hair. 
Does it at home. . . . Prefers show- 
ers to tub baths. A warm shower fol- 
lowed by icy cold each morning. An- 
other warm shower before going to bed. 
She sleeps eleven hours almost every 
night. Otherwise she feels dull the 
next day. . . . Religiously cold-creams 
her face night and morning. When 
she's not working she uses only lip 
rouge for make-up. 

Her upper lip is short. Gives her a 
charmingly childlike look. When she 
talks seriously, she holds her head 
down and looks up at you. Her lashes 
are amazingly long. Real, too. . . . 
And she has dimples. Deep ones which 
flash when she smiles. 

Likes to typewrite. Admits shame- 
facedly that she is writing the Great 
American Novel like everyone else in 
the country. Types with two fingers 
and goes surprisingly fast. If she 
weren't an actress she thinks that she'd 
try to get a job on a newspaper. . . . 
Reads a lot. Nothing in particular. 
Anything that looks interesting. . . . 

Always wears pajamas when rest- 
ing. Likes to sit cross-legged on the 
floor. Never eats candy. Is crazy 
about spareribs and sauerkraut. 

Her voice is low, with a ring of sin- 
cerity or something which attracts 
instinctive attention. Rarely uses slang. 
... Is a little bewildered by what's 
happened during the last few years. 
Was unhappy over the parts she 
played. Didn't want to be typed as 
tough and cheap. Is thrilled and ex- 
cited over new contract with Metro- 
Goldwyn-Mayer. Never hesitated a 
minute when asked to change her fa- 
mous platinum locks to red in order to 
play "Red Headed Woman." 

She loves parties. Loves work. 
Loves life. 

Jean Harlow from Kansas City! 



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The New Movie Magazine, August, 1932 



97 




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Music of the Sound 
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(Continued from -page 78) 

HERE'S one by Coon-Sander's Or- 
chestra 1 know you'll all like, "I 
Want To Go Home." It's a beautiful 
tune. No doubt you are all familiar 
with this really great band and when 
I tell you this is one of the best that 
ever bore their name, it should be com- 
ment enough. I should like to take this 
opportunity to express my sorrow at 
the death of Charleton Coon, one of the 
greatest men in the music game, whose 
passing is mourned by musicians, 
everywhere. 

The other side is by the same or- 
chestra, '"Round My Heart," a livelier 
tune and very danceable. Joe Sanders 
sings the vocals on both sides. (This is 
a Victor record.) 

LET'S Have Another Cup 0' Coffee" 
i is the title of the next one, played 
for us by Enrico Madriguera and his 
Hotel Biltmore Orchestra. This is a 
nice, swingy tune and you'll like the 
way the band plays it. There is a very 
nice vocal refrain. 

The other side, by the same orches- 
tra is "Lovable." There's too much 
fiddle work in this one to suit me. 
(This is a Columbia record.) 

FOR those who like vocal records, 
here's a good one. "Dream Sweet- 
heart" is the title, sung for us by the 
Pickens Sisters, who certainly know 
their vocalizing. 

The other side is by the same artist 
singing "Lawd You Made the Night 
Too Long." No reason why you 
shouldn't like this one either. (This is 
a Victor record.) 

WHEN Lights Are Soft and Low" 
is the title of the next, and al- 
though it's played by the Waltz King, 
it's a fox trot. Wayne King and his 
band do the recording honors and a 
very good job, too. If you want some- 
thing soft and drowsy, you won't go 
wrong here. Ernie Birchill sings the 
vocal chorus. The other side is by the 
same orchestra, "A Moment In the 
Dark," and I think it's a terrible tune. 
(This is a Victor record.) 

EVERYTHING Must Have An End- 
ing" is the title of the next, 
played for us by Peter Van Steeden 
and his Orchestra. This is just one 
more record. 

The other side is by Paul Whiteman 
and his Orchestra and again we have 
"Lawd, You Made the Night Too 
Long." I prefer Louis Armstrong's 
recording. (This is a Victor record.) 



HOT-WEATHER MEALS 

Do you dread cooking on warm days? 
Do you find it hard to plan meals that 
your -family will like, and at the same 
time will allow you to keep cool? Send 
for our leaflets on Hot-Weather Cook- 
ing. They contain recipes, menus and 
suggestions for warm-weather bills of 
fare. Write to Rita Calhoun, care of 
this magazine, 55 Fifth Avenue, New 4 
York, N. Y., enclosing ten cents, and 
the circulars will be mailed to you. 



98 



The New Movie Magazine, August, 1932 



Is Radio Going the Way of 
the Movies? 



(Continued from page 51) 



Radio, with its peculiar talent de- 
mands and its obvious limitations, has 
not drawn as liberally from other 
fields of entertainment for its artistry 
as had been anticipated. With the ex- 
ception of occasional "guest" appear- 
ances, the great favorites of the talk- 
ing screen have had little to do with 
broadcasting. The stage, likewise, has 
contributed but little. The musical 
world has given more freely. But 
within limits. 

When the Metropolitan Opera Com- 
pany decided to pick up an extra penny 
by permitting its performance to be 
broadcast from the stage, the matinee 
performances were those selected de- 
spite the fact that the loss of listeners, 
due to this choice of time, may be 
counted by the million! The fear still 
persists that radio has a definite and 
harmful effect on box-office receipts. 

Except for its potential publicity 
value, broadcasting has been found to 
hold small appeal for movieland's stars. 
A Greta Garbo, reduced to the mere 
shadow of a voice — even a beautiful 
voice with a charming accent — leaves 
the most ardent Garbo fans cold when 
it emanates from a loud speaker in the 
home. Maurice Chevalier was an out- 
standing example of how a great 
screen personality may suffer at radio's 
hands. I considered the Chevalier 
personality as flat as the proverbial 
pancake, without the Chevalier smile 
and antics. Lawrence Tibbett is an air 
favorite solely because he possesses a 
golden voice — his acting ability and 
screen personality are of no use to him 
here. 

TURNING the cards over it is found 
that radio has contributed even 
less in the way of real artistry to the 
screen and to the theatre. Little real 
artistry is necessary to suffice the 
microphone. The radio personality, like 
the successful radio voice, has rarely 
been able to hold its own outside the 
broadcasting sphere. 

A few of the more popular crooners 
and blues singers have made personal 
appearances in local motion picture 
theaters and drawn S. R. 0. signs, usu- 
ally on the strength of their radio fol- 
lowing; a few have made talkie shorts, 
and others have been sent out on con- 
cert tours by their respective radio 
managements; but, withal, the results 



have been negligible. Even the inimi- 
table "Amos 'n' Andy," with every- 
thing Hollywood could give them, could 
not carry their astounding air popu- 
larity beyond what, the critics were 
agreed, proved a mediocre screen pro- 
duction. 

Measuring the popularity of radio's 
favorite sons and daughters with a 
Hollywood yardstick would tend to 
emphasize one of the most vital weak 
spots in the broadcasting structure. 
Where Hollywood builds talent with the 
view to collecting dividends on its in- 
vestment for many, many years to 
come, radio broadcasting contents it- 
self with creating a few over-night 
sensations and then sets about to de- 
stroy its own handiwork through the 
expedient method of excessive exploita- 
tion. There is no guaranty that the 
laurel crown it places upon a crooner's 
brow today will not be faded and wilted 
within a few months. 

THE competition between the two 
national network companies, which 
has never been of a friendly sort, has 
been in the main responsible for the 
over-emphasizing of sensationalism on 
the air. It has led both companies into 
the perilous by-path of extravagant 
expenditures. 

The race to obtain signatures of 
prominent artists on exclusive broad- 
casting contracts has led the broad- 
casters to pay those very same Holly- 
wood salaries which they, in their 
saner moments, sought to avoid. In 
one instance such a contract called for 
a guaranty of $50,000 annually and 
within the year, after all efforts to 
find a commercial sponsor willing to 
foot the bill had failed, the company 
bought back the contract for $60,000. 

Hollywood learned in time that head- 
lines are an expensive luxury as well 
as dangerous business. It has grown 
positively conservative in its taste for 
scare-heads in the public press, but 
this has come only after a long, hard 
and bitter experience. That broadcast- 
ing will escape a similar lesson seems 
hardly probable, for it is even now 
concentrating on becoming the world's 
greatest publicity medium. Radio is 
paying, and paying high for its exis- 
tence at present but it is nothing com- 
pared with what it will pay as its ob- 
session for sensationalism grows. 




Jack Oalcie (shown at left 
with Patricia Wing, at his 
left, and Rochelle Hudson 
at his right) has come out 
of an appendix operation 
with his tonsils also miss- 
ing. And a couple or more 
spare parts for luck. 



Photo oy International 



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And first aid to summer clothes — Swancrest 
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tion stains, spots of oil, grease, fruit or food 
stains, tea or coffee, also water marks. Rub 
it over your light felt hats 
and see them take on new 
freshness. The powder 
comes as needed through 
the sifter brush. Swancrest 
does not affect colors, has 
no odor, leaves no ring. It 
removes the rings left by 
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Cleans Felt Hats 




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(for all light colors) (for dark blue and black) 

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Nan 



The New Movie Magazine, August, 1932 



99 



"JZ Z2? cit* MAKE-UP BOX 



LIGHT Colors 

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Tintex Color Remover 




1 Supposing you have a dark dress 
(or any other dark-eolored 
article) and are pining for a 
lighter-colored one . . . . 




2. Tintex Color Remover will safely 
and speedily take out all trace 
of color (including black) from 
anv fabric 




Q Then the article or fabric can be 
redyedor tinted with Tintex Tints 
and Dyes in any new shade to suit 
yourself — either light or dark. 

On sale at drug and notion 
counters everywhere 

Tintex 

COLOR REMOVER 



NUANCES in powder tones 
are demanded more and 
more by the particular woman, 
and she's certainly petting 
them. A new and unusual 
powder combination is on the 
market, planned par- 
ticularly for those who 
realize that a different 
tone of powder should 
be used under the 
electric lights than is 
used during the day- 
time. In a diamond- 
shaped box come the 
proper shades for each 
of the three general 
classes of skin — fair, 
medium and brunette. 
The night shade is 
exotic and interest- 
ing — particularly the 
green tone planned for 
brunettes and the pale 
lavender that brings 
out fair skins under 
the bright lights. But 
don't be misled and 
think you'll look a 
weird green or orchid 
because the powder 
changes color on the 
skin and blends in per- 
fectly. 

Three new perfumes 
selected by you and 
me from among num- 
berless samples are 
now on the market in 
two sizes, a small one 
for the purse and a 
larger size for dress- 
ing-table use. The 
odors are labeled morn- 
ing, noon and night and 
each fits the time of 
day it is planned for. 
You will probably want 
to use all three and you 
can because they are 
not expensive. 

Lipsticks are grow- 
ing in popularity and 
variety. We just were 
admiring a new little 
lipstick — inexpensive 
and yet made of the 
best materials and in 
the newest and most 
appropriate shades. 
It comes in squat, lit- 
tle blue containers and 
the edges of the stick 
are smoothed off ready 
for action so that you 
don't have to spend a 
week or two breaking 
it in. 





Two 


tones of powder i 


box- 


—tinted for evening 




and for daytime. 




Three new perfumes in slim little 

bottles for dressing table or 

for purse. 





A lipstick that pops out with 
only one simple operation. 



And another lipstick that 
found its way to our desk is a 
marvel of mechanical perfection. 
One twist and the cover sinks 
inside and the lipstick pops out 
— all in one operation. The com- 
pany that developed 
this stick is also pre- 
senting another inno- 
vation — lipstick tissues, 
put up in folders sim- 
ilar to matches. You 
pull off one little square 
at a time and save the 
towels and your larger 
tissues. But the best 
thing about them is 
that they may be car- 
ried along in the purse. 
A long established 
deodorant — of the 
white paste type — is 
"V appearing now in a 
new package, simpler 
and very dignified — 
and it's wrapped in 
cellophane. 

And then there's that 
new dry shampoo, may- 
be you've heard about. 
It's non-inflammable, 
containing no alcohol 
or other material that 
might catch a blaze, and 
it not only cleans the 
hair but takes the ex- 
cess oil out of it. You 
dab it on with cotton, 
allow it to dry and then 
brush out the powder 
left by it along with the 
dirt. It's particularly 
recommended for use 
between shampoos as it 
does not disturb the 
wave and for those who 
are ill with a cold. 

And, speaking of 
powder again, the dark 
sun-tan shades aren't 
being used so much 
this summer. Just a 
faint tone of tan is be- 
ing added to winter 
shades. One company 
has added a warmer 
tone to two of its most 
popular shades. Now 
they are engagingly 
called apricot tan and 
rose beige tan. 

// you wish to know 
the names and prices of 
the articles described 
here,writeto the Beauty 
Editor, Tower Maga- 
zines, 55 Fifth Avenue, 
New York, N. Y., en- 
closing a stamped self- 
addressed envelope. 



Short, squat and inexpensive 
new lipstick. 



(Right) A well-known deodorant 
in a new package. 




100 



The New Movie Magazine, August, 1932 



Suit Yourself 

(Continued from page 46) 

into the evening hours with perfect 
propriety. In these dresses she can 
let her desire for delicate flowery col- 
ors run riot. They give her a dressed- 
up feeling, she explains, without be- 
ing obviously partyish. 

She divides her affections between 
her sports clothes and her evening 
gowns. Karen has never outgrown 
that little-girl love for party dresses. 
For the after-dinner hours she tries to 
find frocks which will have an air of 
youthful and unstudied sophistication, 
long, traily, well-cut gowns, which fol- 
low the slim lines of her figure with- 
out definitely outlining them. 

When Karen was elected as one of 
the year's baby stars, she chose for the 
big party a gown of soft, powdery blue 
satin, trimmed simply with clusters of 
pearls. In spite of its extremely low 
back and its smart design, that dress 
managed to be young and nonchalant. 
It is Karen's favorite gown and she 
tries to recapture its spirit in all other 
evening dresses which she buys. 

THIS Morley girl is a strange mix- 
ture of youth and maturity. There 
are thousands of girls like her, girls 
who have a genuine and charming 
youthfulness in their sports clothes and 
who with an evening gown and dangly 
earrings, can suddenly become young 
sophisticates. It's a great combination 
and these girls are far more fortunate 
than their sisters who are one sort 
of person all the time. All styles and 
fashions are becoming to them. 

"There is a wide chasm between 
carelessness in dress and slovenliness," 
Karen says in explaining her clothes 
creed. "To me there is nothing more 
charming than a casually dressed girl 
or woman, a girl who looks as if her 
clothes belong to her, not as if she 
belongs to her clothes. And, in the 
same way, there is nothing more un- 
attractive than a slovenly person. 

"I like to see immaculately groomed 
and polished women — you know the 
kind — whose every hair seems to be in 
its place, but I'm not that type 
of person. I feel all wrong when I'm 
trying to dress as the last word in 
grooming and worldliness. But, when 
I'm wearing a comfortable, becoming 
dress, when I know that my accessories 
are correct and well-chosen, when I 
can be conscious of Tightness and yet 
not of my clothes, then I feel and act 
my very best self." 

She uses very little make-up for the 
street but is scrupulously careful in the 
care of her skin. She never touches 
the lids of her wide-set hazel eyes with 
shadow, but she does color her lips 
with a faintly yellowish red which 
matches the tawny glow of her skin 
and hair. 

THEY say, people who claim to know 
about fashions and such things, that 
French women are the smartest in the 
world, American women the most beau- 
tifully groomed and English women the 
most charmingly careless. Well, Karen 
must have a few drops of British blood 
somewhere in her thoroughly American 
veins. Of all the young girls in Holly- 
wood she manages to give most com- 
pletely that effect of nonchalant ease 
in her clothes. 

If you are slim and blonde and grace- 
fully lithe you can be like Karen, at- 
tractively yourself. 







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And it will do the same for household 
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Whitex — A bluing for restoring white- 
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TINTS AND DYES 



The New Movie Magazine, August, 1932 



101 




KNOW 

THIS 

SECRET 




Since the days of ancient Egypt, it has been 
known that woman's most effective beauty is 
in her eyes. Not their color — not their size 
or shape — but the expression of which they 
are capable when properly made up. Cleo- 
patra knew this secret. Stars of the stage and 
screen know it too. Famous beauties — includ- 
ing the one whose picture appears above — 
know the charm-value of the "expression" 
made possible by dark, long appearing, lux- 
uriant lashes. And they know that the NEW, 
non-smarting, tearproof, harmless Maybelline 
is the easy way to acquire such lashes instantly. 
Try it yourself. You will be delighted with 
results. The New Maybelline, Black or Brown 
is 75c at all toilet goods counters. 



The NEW 

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10c stores or sent for dime and 
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EYELASH BEAUTIFIER 




MAYBELLINE CO. 08-8 

5900 Ridge Ave, Chicago 

10c enclosed. Send me Purse Size box 
of the New, Non-Smarting, Tearproof 
Maybelline. D Black □ Brown | 

I 



.State. 



News & Pictures of Forthcoming Films 



{Continued from, imgc 07) 



Crooner — W a r n er 

Brothers: The rise and fall 
of a college crooner, who 
finds ultimate happiness in 
his old sweetheart and his 
old associations. David Man- 
ners is the crooner. There 
are also Ann Dvorak, Ken 
Murray, Alan Vincent, Guy 
Kibbee, Sheila Terry, and 
J. Carrol Naish. Directed by 
Lloyd Bacon. From a novel 
of the same name written 
by Rian James. 



Merrily We Go To Hell — 

Paramount: Fredric March 
as the newspaper reporter, 
and Sylvia Sidney as the 
wife who loves him, are the 
young couple who go to 
hell merrily, but not happily. 
Adrianne Allen is the Other 
Woman, and in the cast are 
Skeets Gallagher, Kent Tay- 
lor, Cary Grant, and others. 
Directed by Dorothy Arzner. 



Without Shame — M-G-M: 
Bayard Veiller's story of very 
modern youth, Helen Twelve- 
trees as the girl, Robert 
Young as the brother who 
kills her sweetheart, and 
Robert Owsley as one of the 
weak wooers. And with Jean 
Hersholt and Lewis Stone. 
Directed by Harry Beau- 
mont. And with another 
courtroom scene, too, for 
good measure. 



Speak Easily — M-G-M: 
Buster Keaton as an ex-col- 
lege professor with a for- 
tune, who picks up a cheap 
theatrical company, takes 
them to Broadway, and puts 
them over in a big way. 
With Jimmy Durante, Ruth 
Selwyn, and Hedda Hopper. 
Directed by Edward Sedg- 
wick. Oh, and Thelma Todd 
as the Broadway dazzler. 




102 



The New Movie Magazine, August, 1932 




Hollywood Speaks — Co- 
lumbia: Another movietown 
picture, with Pat O'Brien 
rescuing Genevieve To bin 
from suicide. So he aids her 
to screen success, and gets 
himself accused of murder. 
But Genevieve rescues him 
by sacrificing her career — 
and everyone's happy. Di- 
rected by Eddie Buzzell- 



Million Dollar Legs — Para- 
mount: A great comedy cast 
supporting Jack Oakie and 
Lyda Roberti— W. C. Fields, 
Andy Clyde, Ben Turpin and 
Hank Mann. Directed by 
Edward Cline. And all about 
an out-of-work brush sales- 
man in a mythical republic, 
who falls in love with the 
president's daughter. Many 
of the scenes are being 
made in the stadium used 
for the Olympic games. 



<x ..uut, powerful mind 
and a six-feet-four-inch steel body, he 
dominated everything in his own world 
by sheer force of character. 

Often since I have thought of old 
Sam Johnson's words about another 
fellow when word came of his death. 
"He was very kind to me," said the pon- 
derous scholar. "If you call a dog 
Hervey, I shall love him." 

Oklahoma Red was very kind to me. 
When he died, I took his gun and his 
money and went on to Dallas, feeling 
that if I did not, the railroad detec- 
tives would. 

I watched the moon slant across his 
handsome, life-scarred face as I left. 
I did not know then that the great des- 
perado was not dead. He was born 
again in my subconscious. He was, 
years later, to electrify the elite of 
New York in the person of Charles 
Bickford. No less a person than George 
Jean Nathan was to say of him — "a 
powerful man." But let us leave 
Oklahoma Red along the railroad track 



Madame Racketeer — Para- 
mount: Alison Skipworth, of 
the spoken stage, as the 
mother just released from 
the penitentiary, who en- 
tangles the troubled affairs 
of her husband, Richard 
Bennett, and her two daugh- 
ters, Evalyn Knapp and Ger- 
trude Messinger. By the 
authors of "Hell Divers." 
Should prove interesting. 

the dead Oklahoma "Red's mom.., „. 
in my pocket. The thunderous applause 
I did not hear. 

George Jean Nathan touched my arm. 
We went to a little place in the Vil- 
lage, which sold milk, I think. And 
there sat Burns Mantle and Percy 
Hammond. They were not drinking 
milk. 

The next morning, three red-headed 
rascals shook hands with destiny — 
Charles Bickford, James Cagney and 
Jim Tully. 

THE play ran all winter. I bought 
a new suit. 
Bickford and Cagney arrived in Hol- 
lywood. Adios to Jimmy Cagney and 
down the road with Bickford. 

Cecil De Mille immediately engaged 
him for "Dynamite." 

Not even the hocus-pocus of that 
film could hurt him. He went on as 
Matt Burke to "Anna Christie" with 
Greta Garbo. 

{Phase turn to page 106) 



S 



ome say 
IT'S LUCK! 

some say 
IT'S FATE! 





CONSTANCE BENNETT 

T EW AYRES went to a tea dance, 
■"-* met a film manager who liked 
his looks and gave him his movie 
tryout. He says, "That was luck!" 

Constance Bennett started out to 
be domestic, despite her dramatic 
background, met a big producer at 
an Equity Ball who persuaded her 
into the movies. She says, "That 
was fate!" 

Beautiful pictures of the stars, 
intimate stories of their rise to 
fame, their luck, their fate, call i( 
what you will, the 
whole glamorous 
story is there in 
the "New Movie 
Album". You're 

£>ing to enjoy 

pending 10c plus 

c postage for it. lew ayres 



CANADIAN 

ORDERS 

15c 

Plus Postage 





a Bio 



^OWER BOOKS, Inc. 



55 Fifth Avenue, New York 



The New Movie Magazine, August, 1932 



103 




Her beauty 



is s 



kin -d 



eep 



It's a kind of beauty that every woman 
envies . . . the beauty of a fresh complexion 
— the loveliness of a flawless skin. 

And this is the first beauty-lesson . . . 
face-powder must be pure! It is impure pow- 
ders that cause blemishes and roughness . . . 
but a pure, fine powder means protection for 
your skin. 

That's the secret of Luxor powder. It's 
made in our own laboratories ... of tested 
and retested ingredients. So it's the purest, 
safest product modern science can devise. 
It's mixed and sieved and sifted through 
layers of tight-stretched silk. So it's soft 
and fine, of artful blend and delicacy. 

Don't cover up imperfections — cultivate 
the beauty that is skin-deep . . . that comes 
from a skin glowing with health all the way 
through. Use Luxor powder to protect its 
texture, to perfect its finish, to bring it 
subtle, natural radiance! 

Luxor products are all expertly made a j 
none are costly: The face' 
powder 50 cents a box, rouge 
50 cents, lipstick 50 cents. 




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I'd like to try Luxor. . . . Here's ten cents ' 
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ywuN^yyy ^/wwwy yygyyyygyg M. 



Hollywood's Rebe 



{Continued from page 35) 



learning to admit him to the Massachu- 
setts Institute of Technology. He re- 
mained one year and gained in that 
time a smattering of engineering 
knowledge. 

He soon left Cambridge, and after 
wandering about the country, arrived 
in Butte, Montana, a powerful, red- 
headed, blue-eyed, belligerent young 
hobo. 



HE gave evidence at this time that 
character, once formed, seldom 
changes. Sauntering along a side 
street in Butte, as hungry as if he 
were already an actor, he saw a young 
fellow in a blue uniform standing beside 
a sign upon which was painted a large 
battleship. Standing on the deck was 
an admiral and three common sailors 
chatting about democracy. Mr. Bick- 
ford was more pleased than a club- 
woman mistaking a Maxfield Parrish 
for a Whistler. He pointed to the 
sign and asked the young man if all 
he saw was true. The young man re- 
plied, "Yes, siree — that ain't the half 
of it." He talked earnestly to the red- 
headed hobo. Mr. Bickford confided 
to the young man that he would gladly 
chat with an admiral, if by joining the 
navy he would be sent to San Fran- 
cisco to do so. 

The young man agreed to arrange 
matters. The next consignment of 
future admiral-talkers would leave for 
the Pacific Coast in a week. The 
young hobo was given twenty-five cents 
each day to remain in Butte that long. 

A week passed. The young hobo 
appeared, ready to go westward. He 
was told that the consignment was 
leaving for the Great Lakes Naval 
Training Station in Illinois instead. 
In spite of strong persuasion, Mr. 
Bickford stubbornly refused to go. At 
last the young man allowed him to re- 
main in Butte ten more days, at the 
enormous sum of twenty-five cents a 
day. When the California consignment 
was ready, the young hobo, like Abou 
ben Adhem, led all the rest. 

When he arrived in San Francisco, 
having joined the navy to see the world, 
he decided to view it through a port- 
hole. He became a stoker. 

The months passed, heavy as the coal 
he shoveled. Ho-.bp'""- 



he were a bathroom floor. Bickford 
stayed the six rounds, in many different 
positions. 

The battle ended, his pride was hurt 
more than other portions of his anat- 
omy. As cocky then as now, he did 
not feel that a man in the world could 
defeat him. The man's name was — 
but I dare not tell. He was not a film 
producer. 

The future actor walked down Mar- 
ket Street, with swollen eyes that had 
seen the world through so many port- 
holes. He watched the ships in the 
Bay and wondered what he would do 
now that his career of coal-shoveling 
and leather-pushing was forever behind 
him. 

Night came on clouds of fog, and his 
heart became heavy. The lad with the 
bright blue eyes and teeth even as 
pearls in a row, who was ten years 
later to thrill the most blase of New 
York ladies, now stood, of all places, 
at the entrance to a wine room. His 
shirt was open at the throat. His red 
hair was in long curls. He jingled the 
money of defeat in his pocket. 

A young woman, carefree as himself, 
pushed him out of the door, saying, 
"What's you doing here, Beautiful 
Manhood?" 

Before the chap who was later to 
dominate Garbo in a scene could an- 
swer, the girl asked, "Would you like 
to buy a lady a drink?" 

Bickford seated himself at a round 
table with a push-button in the center. 

The girl took her drink and ordered 
another before the waiter could leave 
the table. She looked closely at the 
future actor. "Didn't I see you fight 
last night?" she asked. 

"You might have seen me," answered 
Bickford, "but you didn't see me fight." 
The girl smiled. 

"Boy," she said, "if you had hit him 
with all them you missed, he'd be 
fallin' yet." 

Soon another gentleman and lady 
joined them. 

The gentleman looked at Charles 
Bickford. 

"In the profession?" he asked. 

"What profession?" asked Bickford, 
who was beginning to have doubts. 

"The theater," the man answered, as 
Bickfprd's Roman nose, 



Speak Easily — M-S-M: 
Buster Keaton as an ex-col- 
lege professor with a for- 
tune, who picks up a cheap 
theatrical company, takes 
them to Broadway, and puts 
them over in a big way. 
WHh Jimmy Durante, Ruth 
Selwyn, and Hedda Hopper. 
Directed by Edward Sedg- 
wick. Oh, and Thelma Todd 
as the Broadway dazzler. 




104 



The New Movie Magazine, August, 1932 



Hollywood's Rebe 



more ginger ale for the company. 

BEFORE the place closed, Bickford 
had consented to become an actor, 
or, rather, to join the chorus of a musi- 
cal comedy. That he could not sing 
made but little difference. Neither 
could the chorus. 

His salary was forty dollars a week. 
Within a short time he said to himself 
in the mirror, "Where've you been all 
your life — shoveling coal and getting 
bounced around in the ring when 
there's an easy racket like this?" 

Before the season closed he was get- 
ting seventy-five dollars a week. He 
stayed two years with this company. 
Happier days he was never to have. 

And the girl who met him at the en- 
trance to the wine room — we will call 
her Sally. She was one of those beau- 
tiful, happy-go-lucky people who keep 
the heart of the world from growing 
cold. We leave her for a moment. 

The red-headed ex-hobo returned to 
Boston, more serious than when he 
had left it. He had found his life work. 
We will linger only long enough on the 
next ten years to say that they were 
full of hard work in different stock 
companies, which played in different 
cities in the East. Several times in 
Boston and New York Bickford be- 
came "a hundred-and-fifty-dollar-a- 
week leading man." 

That such an epic of a man should 
pass unnoticed on the American stage 
for ten years seems idle to believe. He 
went his dreary and dynamic way from 
one stock company to another, while in 
Hollywood another Irishman was pav- 
ing a road upon which two red-headed 
ex-hoboes would step jauntily to shek- 
els and glory. 

I WAS at the time living with a taxi 
driver, far down on his luck. The 
author of one book, and still destitute, 
I had written another. Against the 
advice of a so-called shrewd publisher 
who wanted me to write about a Holly- 
wood woman, I decided to stick to the 
memory of my bitter boyhood. The 
book was called "Beggars of Life." 
There was in it a magnificent yegg 
whom I had seen perish along a rail- 
road in the South. Born for a mightier 
destiny, he was a blue-eyed, red-headed, 
hook-nosed Irishman who could have 
held his own with Jack Dempsey in a 
brawl. With a crude, powerful mind 
and a six-feet-four-inch steel body, he 
dominated everything in his own world 
by sheer force of character. 

Often since I have thought of old 
Sam Johnson's words about another 
fellow when word came of his death. 
"He was very kind to me," said the pon- 
derous scholar. "If you call a dog 
Hervey, I shall love him." 

Oklahoma Red was very kind to me. 
When he died, I took his gun and his 
money and went on to Dallas, feeling 
that if I did not, the railroad detec- 
tives would. 

I watched the moon slant across his 
handsome, life-scarred face as I left. 
I did not know then that the great des- 
perado was not dead. He was born 
again in my subconscious. He was, 
years later, to electrify the elite of 
New York in the person of Charles 
Bickford. No less a person than George 
Jean Nathan was to say of him — "a 
powerful man." But let us leave 
Oklahoma Red along the railroad track 



and hurry to another man, the subject 
of this story. 

MY book was turned into a play 
called "Outside Looking In." I 
journeyed to New York in a suit from 
the highest shelf in a second-hand 
store. The characters from my turbu- 
lent past were being rehearsed at the 
Greenwich Village Theater. 

Unannounced, I went into the theater. 

Strutting across the stage as if his 
body were rubber and steel, was an 
immense, blue-eyed actor who might 
have been the brother of Oklahoma 
Red. The likeness stabbed to the sen- 
timental heart of me. Wise, through 
seven years of vagabondage, in the 
deep lore of the road, I knew at once 
that the man on the stage had been a 
hobo in many rough places. 

Near him was another red-headed 
Irishman. I went up to both sorrel- 
tops and said, "My name's Jim Tully." 

"Mine's Charles Bickford," said the 
larger actor, putting out his hand. 

"And mine's Jimmy Cagney," said 
the little wiry fellow, who was playing 
the part of me. 

We chatted for a while, and all speak- 
ing the same language, we understood 
each other at once. That was about 
eight years ago. The stars of both 
have long since risen high. I find them 
both today, strident, belligerent, charm- 
ing and gentle fellows. We are all 
three, I am very proud to say, still 
friends. 

The play opened. A group of hoboes 
talked in the jungle. The atmosphere 
was tense. 

Finally there walked upon the stage 
a yegg in a worn, well-fitting blue 
serge suit. The other vagabonds 
looked from one to another. A man 
was among them. 

Before the play had finished, ladies 
of the intelligentsia, cold as Grant's 
Tomb on Christmas Eve, got a vicarious 
thrill out of the handsome ruffian billed 
as Oklahoma Red. 

WITH my understanding friend, 
George Jean Nathan, I watched 
Charles Bickford impersonate my boy- 
hood friend. 

When the play ended, I sat in a daze. 
The most civilized of men was not at 
my side. I was back again to my hun- 
gry, wind-whipped days. I could hear 
the dead Oklahoma Red's money jingle 
in my pocket. The thunderous applause 
I did not hear. 

George Jean Nathan touched my arm. 
We went to a little place in the Vil- 
lage, which sold milk, I think. And 
there sat Burns Mantle and Percy 
Hammond. They were not drinking 
milk. 

The next morning, three red-headed 
rascals shook hands with destiny — 
Charles Bickford, James Cagney and 
Jim Tully. 

THE play ran all winter. I bought 
a new suit. 
Bickford and Cagney arrived in Hol- 
lywood. Adios to Jimmy Cagney and 
down the road with Bickford. 

Cecil De Mille immediately engaged 
him for "Dynamite." 

Not even the hocus-pocus of that 
film could hurt him. He went on as 
Matt Burke to "Anna Christie" with 
Greta Garbo. 

(Please turn to page 106) 





or 
runette 

<jeven out of eight 
debutantes know this 

WOMAN is as beau- 
tiful as her hair- 
dress. A single pin 
showing, mars even a perfect coiffure- 
be it long, bobbed or growing. That's 
why HOLD-BOBS are the invariable rule 
among well-groomed women. 

HOLD-BOBS are invisible. The small, 
round heads cannot be seen. The 
smooth ends cannot scratch. One of 
the flexible legs is crimped to hold the 
most wayward strand in place. And 
HOLD-BOBS come in light or dark colors. 



FREE SUPPLY 

MAIL COL/PON 

A free sample card of 
HOLD-BOBS and the new 
"Modern Hair Culture" 
booklet await your name 
and address. Write for 
them. 



Made Only By 
THE HUMP HAIRPIN MFG. COMPANY 

(Division of Chain Store Products Corporation) 

Sol. H. Goldberg, President 
1918-36 Prairie Avenue, Dept. G8, Chicago, III. 

The Hump Hairpin Mfg. Co. of Canada, Ltd. 

St. Hyacinthe, P. Q., Canada 

Gold and silver metal foil cards iden- 
tify HOLD-BOBS everywhere . . . 
Made in all sizes to meet every re- 
quirement. Also sold under the fol- 
. „ „ lowing brand names: BOB-ETTES — 
f feK& CLIP-PER-ETTES-LOX-THE-LOCKS. 

Y Heads 

BBS *> 

The Hump Hairpin Mfg. Co., Dept. G8, Chicago, III. 

Please send me free sample card of HOLD-BOBS and 
new "Modern Hair Culture" booklet. 

Name 

Address 

City State 

□ Blonde D Gray d Brunette □ Gold 



Copyright 1932 by The Hump Hairpin Manufacturing Co. 




The New Movie Magazine, August, 1932 



105 



Hollywood's Rebel 



more ginger ale for the company. 

BEFORE the place closed, Bickford 
had consented to become an actor, 
or, rather, to join the chorus of a musi- 
cal comedy. That he could not sing 
made but little difference. Neither 
could the chorus. 

His salary was forty dollars a week. 
Within a short time he said to himself 
in the mirror, "Where've you been all 
your life — shoveling coal and getting 
bounced around in the ring when 
there's an easy racket like this?" 

Before the season closed he was get- 
ting seventy-five dollars a week. He 
stayed two years with this company. 
Happier days he was never to have. 

And the girl who met him at the en- 
trance to the wine room — we will call 
her Sally. She was one of those beau- 
tiful, happy-go-lucky people who keep 
the heart of the world from growing 
cold. We leave her for a moment. 

The red-headed ex-hobo returned to 
Boston, more serious than when he 
had left it. He had found his life work. 
We will linger only long enough on the 
next ten years to say that they were 
full of hard work in different stock 
companies, which played in different 
cities in the East. Several times in 
Boston and New York Bickford be- 
came "a hundred-and-fifty-dollar-a- 
week leading man." 

That such an epic of a man should 
pass unnoticed on the American stage 
for ten years seems idle to believe. He 
went his dreary and dynamic way from 
one stock company to another, while in 
Hollywood another Irishman was pav- 
ing a road upon which two red-headed 
ex-hoboes would step jauntily to shek- 
els and glory. 

I WAS at the time living with a taxi 
driver, far down on his luck. The 
author of one book, and still destitute, 
I had written another. Against the 
advice of a so-called shrewd publisher 
who wanted me to write about a Holly- 
wood woman, I decided to stick to the 
memory of my bitter boyhood. The 
book was called "Beggars of Life." 
There was in it a magnificent yegg 
whom I had seen perish along a rail- 
road in the South. Born for a mightier 
destiny, he was a blue-eyed, red-headed, 
hook-nosed Irishman who could have 
held his own with Jack Dempsey in a 
brawl. With a crude, powerful mind 
and a six-feet-four-inch steel body, he 
dominated everything in his own world 
by sheer force of character. 

Often since I have thought of old 
Sam Johnson's words about another 
fellow when word came of his death. 
"He was very kind to me," said the pon- 
derous scholar. "If you call a dog 
Hervey, I shall love him." 

Oklahoma Red was very kind to me. 
When he died, I took his gun and his 
money and went on to Dallas, feeling 
that if I did not, the railroad detec- 
tives would. 

I watched the moon slant across his 
handsome, life-scarred face as I left. 
I did not know then that the great des- 
perado was not dead. He was born 
again in my subconscious. He was, 
years later, to electrify the elite of 
New York in the person of Charles 
Bickford. No less a person than George 
Jean Nathan was to say of him — "a 
powerful man." But let us leave 
Oklahoma Red along the railroad track 



and hurry to another man, the subject 
of this story. 

MY book was turned into a play 
called "Outside Looking In." I 
journeyed to New York in a suit from 
the highest shelf in a second-hand 
store. The characters from my turbu- 
lent past were being rehearsed at the 
Greenwich Village Theater. 

Unannounced, I went into the theater. 

Strutting across the stage as if his 
body were rubber and steel, was an 
immense, blue-eyed actor who might 
have been the brother of Oklahoma 
Red. The likeness stabbed to the sen- 
timental heart of me. Wise, through 
seven years of vagabondage, in the 
deep lore of the road, I knew at once 
that the man on the stage had been a 
hobo in many rough places. 

Near him was another red-headed 
Irishman. I went up to both sorrel- 
tops and said, "My name's Jim Tully." 

"Mine's Charles Bickford," said the 
larger actor, putting out his hand. 

"And mine's Jimmy Cagney," said 
the little wiry fellow, who was playing 
the part of me. 

We chatted for a while, and all speak- 
ing the same language, we understood 
each other at once. That was about 
eight years ago. The stars of both 
have long since risen high. I find them 
both today, strident, belligerent, charm- 
ing and gentle fellows. We are all 
three, I am very proud to say, still 
friends. 

The play opened. A group of hoboes 
talked in the jungle. The atmosphere 
was tense. 

Finally there walked upon the stage 
a yegg in a worn, well-fitting blue 
serge suit. The other vagabonds 
looked from one to another. A man 
was among them. 

Before the play had finished, ladies 
of the intelligentsia, cold as Grant's 
Tomb on Christmas Eve, got a vicarious 
thrill out of the handsome ruffian billed 
as Oklahoma Red. 

WITH my understanding friend, 
George Jean Nathan, I watched 
Charles Bickford impersonate my boy- 
hood friend. 

When the play ended, I sat in a daze. 
The most civilized of men was not at 
my side. I was back again to my hun- 
gry, wind-whipped days. I could hear 
the dead Oklahoma Red's money jingle 
in my pocket. The thunderous applause 
I did not hear. 

George Jean Nathan touched my arm. 
We went to a little place in the Vil- 
lage, which sold milk, I think. And 
there sat Burns Mantle and Percy 
Hammond. They were not drinking 
milk. 

The next morning, three red-headed 
rascals shook hands with destiny — 
Charles Bickford, James Cagney and 
Jim Tully. 

THE play ran all winter. I bought 
a new suit. 
Bickford and Cagney arrived in Hol- 
lywood. Adios to Jimmy Cagney and 
down the road with Bickford. 

Cecil De Mille immediately engaged 
him for "Dynamite." 

Not even the hocus-pocus of that 
film could hurt him. He went on as 
Matt Burke to "Anna Christie" with 
Greta Garbo. 

(Please turn to page 106) 





or 
runette 

tjeven out of eight 
debutantes know this 

WOMAN is as beau- 
tiful as her hair- 
dress. A single pin 
showing, mars even a perfect coiffure — 
be it long, bobbed or growing. That's 
why HOLD-BOBS are the invariable rule 
among well-groomed women. 

HOLD-BOBS are invisible. The small, 
round heads cannot be seen. The 
smooth ends cannot scratch. One of 
the flexible legs is crimped to hold the 
most wayward strand in place. And 
HOLD-BOBS come in light or dark colors. 



FREE SUPPLY 

MAIL COUPON 

A free sample card of 
HOLD-BOBS and the new 
"Modern Hair Culture" 
booklet await your name 
and address. Write for 
them. 



Made Only By 
THE HUMP HAIRPIN MFG. COMPANY 

(Division of Chain Store Products Corporation) 

Sol. H. Goldberg, President 
1918-36 Prairie Avenue, Dept. G8, Chicago, III. 

The Hump Hairpin Mfg. Co. of Canada, Ltd. 

St. Hyacinthe, P. Q., Canada 

Gold and silver metal foil cards iden- 
tify HOLD-BOBS everywhere . . . 
Made in all sizes to meet every re- 
quirement. Also sold under the fol- 
, „ „ lowing brand names: BOB-ETTES — 
/IS. CLIP-PER-ETTES-LOX-THE-LOCKS. 

r Heads 



The Hump Hairpin Mfg. Co., Dept. G 8, Chicago, III. 

Please send me free sample card of HOLD-BOBS and 
new "Modern Hair Culture" booklet. 

Name ■ -- 

Address 

City State 

□ Blonde D Gray □ Brunette □ Gold 



Copyright 1932 by Tbe Hump Hairpin Manufacturing Co. 




The New Movie Magazine, August, 1932 



105 




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Hollywood's Rebel 

(Continued from page 105) 



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Not even she could "steal" his thun- 
der in this film. When it was com- 
pleted, two other stories were ready 
for him. Bickford thought they were 
bad, and said as much. 

The same lad who as a young hobo 
refused to go to the Great Lakes Naval 
Training Station when he wanted to 
go to California, now said to the pro- 
ducers, "Remember — I'm not going to 
be made a prop for Garbo." He refused 
to play the stories. 

Not a sycophant, with plenty of 
courage and integrity, the grovelers at 
the gates of opportunity soon spread 
the legend that he was hard to get 
along with. 

Bickford keeps his word. He expects 
others to do the same. 

Recently he made a contract for "top 
billing" — his name at the top of the 
billboard. The company made thousands 
of "twenty-four sheets." Bickford's 
name was not at the top. He calmly 
said, "Gentlemen, if you release those 
bills I'll tie your picture in a thousand 
legal knots." 

Bickford got his top billing. 

On another occasion, a girl made her 
role in a film as important as Bick- 
ford's. At the ex-coal shoveler's sugges- 
tion, she received top billing with him. 

A MAN who has made honesty and 
defiance pay in Hollywood, he re- 
ceives five thousand dollars a week. 
His downfall is constantly predicted. 



Like the eagle, he is above the petty 
storms. He owns oil stations, hog 
ranches and the most innocent blue 
eyes in the world. 

His left hand knows not what his 
light hand does. 

Going into a famous Hollywood res- 
taurant, we were met by One-Eyed 
Connelly. A former hobo like our- 
selves, he became known as the greatest 
gate-crasher in America. But in these 
depressing times the gates are closed. 

Bickford shook hands with him cas- 
ually. 

Hours later One-Eyed Connelly said 
to me: "He slipped me a five spot. 
He's our kind of people, Jim." The 
hand of Bickford had been too fast 
for me. 

During the filming of "Thunder Be- 
low," the director made ready for an 
emotional scene between Charles Bick- 
ford and Tallulah Bankhead. 

The imperious Tallulah walked be- 
fore the camera. The director and his 
assistants looked about for Bickford. 

Forgetful of all around him, he was 
chatting with a charming extra player. 

His name called, he hurried before 
the camera. 

I said nothing. Neither did Bick- 
ford, nor the charming woman. 

She was the girl who had called him 
Beautiful Manhood so long ago in San 
Francisco. 

Another episode in the Land of Make- 
Believe. 



Would You Put Your Child in 

Pictures? 



(Continued from page 49) 



he'd be able to look over the book with- 
out stretching his neck, plopped his 
book down on my desk, and without 
any preliminaries started turning pages 
and giving his spiel. He talked with- 
out drawing a breath for ten minutes 
straight, informing me of parts he had 
played, directors for whom he had 
worked and press notices he had re- 
ceived. As he concluded his glib bally- 
hoo he folded his book, stepped down 
from the improvised footstool and 
started nonchalantly away. He paused 
only to add, 'Just let me know when 
I'm to begin working on your picture. 
. . . And remember — I don't work 
cheap.' And out he stalked!" 
He didn't get the job. 

DIRECTOR SANTELL told me he 
finds that the motion-picture child 
has an abnormal superiority complex. 
When only one child happens to be 
working on a picture, adult members of 
the company are inclined to make a fuss 
over him, tease him, indulge him, and 
in many other ways make him feel im- 
portant. When there are several chil- 
dren on a picture there is a constant 
rivalry among them. They argue over 
their work, quote directors' praise of 
them. They don't even seem to play 
like normal children, but are constantly 
showing off — exhibiting their latest 
dance steps, speaking pieces, "register- 
ing" emotions. And when they get in 



front of the camera they know all the 
tricks of a temperamental star. They 
even "hog" the camera every chance 
they get! 

"But," conceded Santell in closing, 
"most of the movie children could be 
practically normal if it weren't for 
their parents." 

I HEARD so much about parents that 
I decided to see one. Mrs. Wynonah 
Johnson has seven children, ranging 
from a few months to seventeen years, 
and all "on call." Dick Winslow and 
Cullen Johnson are probably the best 
known to the fans. 

The Johnsons live in a small gray 
home in a rather drab district of Los 
Angeles, seven miles from Hollywood. 
If there are normal children in pictures, 
I'd say they are these youngsters. But 
theirs is an isolated case! 

In the first place, children in large 
families are less inclined to be spoiled. 
They learn a give-and-take adjustment 
to their problems very early. No one 
child is apt to be allowed to feel su- 
perior. 

In this family there is no maid. 
It is a tribute to Mrs. Johnson's man- 
agement that each child helps care for 
the home. The children do the house- 
work and get the meals and enjoy it. 
They study home-work and visit their 
friends in the neighborhood. 

The oldest boy works in a drugstore, 



106 



The New Movie Magazine, August, 1932 



Would You Put Your Child in 

Pictures? 



ZASU PITTS SAYS: 

Only direct necessity would 
cause me to allow my two chil- 
dren to go into the movies. I am 
not opposed to the movies as a 
career for them after they have 
grown up and completed their 
education, but I would want them 
to make the decision themselves. 
. . . My opinion is that children 
are happiest when they are with 
other children their own size and 
age. A child working in a studio 
has very little opportunity for 
the games and sports that appeal 
most to children. . . . Plunging 
the child into a world of make- 
believe is not, to my mind, the 
best influence for character for- 
mation. ... / have no quarrel 
with parents who put their chil- 
dren into the movies. Perhaps 
the tots are possessed of such in- 
sistent and outstanding genius 
that it would be unfair to deprive 
either them or the public of its 
expression. . . . But, so long as 
I can, I will keep my two chil- 
dren in normal paths, going to 
school, playing the games of 
childhood, and building up char- 
acter for adult life and a rational 
mind in a sound body. 



and one of the others has a paper route 
"between pictures." 

"Working in the talkies gives chil- 
dren a sense of responsibility," Mrs. 
Johnson said. "They become ambitious 
early in life and gain self-confidence. 
They learn to accept situations and 
people in a way that non-picture chil- 
dren do not because their scope is lim- 
ited to their immediate family and the 
static group of school friends. I con- 
sider picture work a real preparation 
for life for my children." 

Each of the Johnson youngsters has 
his own bank account. A strict total is 
kept of each one's earnings. This 
money is to be used for each one's edu- 
cation — just ordinary public school and 
colleges, nothing "fancy," explains their 
mother. 

Yes . . . the Johnson kids seem nor- 
mal. Of course they are tremendously 
interested in showing a visitor their 
scrapbooks and "stills," but then an- 
other child takes the same interest in 
displaying his dolls and A-B-C books. 
Their absorption in their work actually 
has an element of the impersonal in it. 
They take the same pride in their 
brothers' or sisters' stills as in their 
own, which is really amazing — in a mo- 
tion-picture child! 

'""pHE kids in Our Gang don't know 
*- they're working in pictures — it's 
all just a game to them," declared Rob- 
ert McGowan, their director. "When a 
new kid is signed up, he's often in- 
clined to be smarty . He feels important 
over having a contract. But he soon 
gets over it. If a child is too hard to 
manage, I 'fire' him — send him home 
for the day. That brings him around. 
I don't have any trouble with the kids 
■ — they're just nice, normal, healthy, 



happy youngsters. But when we do 
find one that's spoiled and forward and 
affected, it's the mother's fault!" 

And that is what their teacher, Mrs. 
Carter, thinks, too. If a spoiled child 
joins the movies he soon "has it taken 
out of him." A motion-picture child 
simply must be well-behaved. He must 
be obedient, courteous, prompt, and in- 
terested. In this respect, at least, 
working in pictures is actually bene- 
ficial. 

Doting parents nearly spoiled Mitzi 
and Anita Louise, to cite a couple of 
the many representative cases. Mitzi's 
adoring father used even to carry her 
schoolbooks for her and get up to give 
her his more comfortable chair when 
she entered a room. Anita's mother 
waited on her lovely daughter hand and 
foot, even stooping to put on her shoes 
like a maid. 

WEALTH is keeping little Robert 
Coogan from enjoying a normal 
childhood — even his famous brother 
Jackie says so ! Jackie is quoted as 
having said: "Chicken'll never be any 
good as an actor. He's always had it 
too soft — maids and nurses and lux- 
uries all his life." The Coogans live 
in one of Hollywood's swankiest apart- 
ment houses and pay rent that runs 
into four figures. Is such a childhood 
normal? 

Perhaps little Mitzi would still be 
living at the Roosevelt Hotel had not 
her teacher wisely persuaded the 
Greens to move into a little bungalow 
with a generous yard. Mitzi, a stage 
product, came to Hollywood "full of 
notions." She was precocious, ritzy, 
affected. But working in pictures has 
completely changed her. . . . Pictures 
(Please turn to page 108) 



MILDRED DAVIS LLOYD 
SAYS: 

Up to the present none of the 
children have shown any desire 
or inclination toward picture 
work. Peggy (Marjorie Eliza- 
beth) occasionally tries her hand 
at story-writing. So far she 
hasn't called them screen plays 
or scenarios. . . . Harold and my- 
self have discussed the situation 
many times and have decided 
that it is entirely up to the chil- 
dren to mould and map out their 
own careers. Should they choose 
the stage, screen, medical pro- 
fession, teaching or what, they 
ivill be given every opportunity 
to enter it well equipped for suc- 
cess. . . . Should any, or all of 
them decide on pictures, I feel 
that Harold will be glad to aid 
them in every way to attain their 
goal. I'm sure I will be. . . . 
However, their careers will in no 
way be allowed to interfere with 
their education or physical de- 
velopment. ... / don't want to 
sacrifice their youth. We plan 
a normal childhood for them. 
Then, when they are grown and 
educated, it is up to them to 
choose, and we will help them to 
make good. 



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The New Movie Magazine, August, 1932 



107 



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Would You Put Your Child in 

Pictures? 



{Continued from page 107) 



and her very normal hoy-friend, Jackie 
Searle. . . . 

"It's an endless fight to keep motion- 
picture children normal," admitted 
Rachel Smith, who, though a very at- 
tractive young person, has been teach- 
ing motion-picture children for ten 
years, the last seven at Paramount ex- 
clusively. 

"But I find that the child who suc- 
ceeds is the one who has really lovely 
qualities — the normal sweetness of 
average childhood. It is difficult to 
keep children normal in the picture in- 
dustry. They hear themselves discussed 
constantly in the studio and at home by 
unwise parents; they attend theaters 
and hear the audiences' reaction to 
their antics; strangers point them out 
on the street and rush up for auto- 
graphs ; interviewers question them 
and make them feel that their opinions 
are of tremendous importance. They 
are constantly on parade. It takes an 
exceptionally wise mother to prevent a 
child's becoming abnormal in this in- 
dustry. Probably the most nearly 
normal child is Jackie Searle — thanks 
to an extraordinarily sane and homey 
sort of mother." 

Miss Smith constantly fights against 
abnormality among picture children. 
She considers it her sacred trust to 
help the children forget they are on 
exhibition. Because of her influence, 
certain youngsters who lived the pri- 
vate lives of goldfish now enjoy happy, 
average home lives. 

WILLIAM BEAUDINE, the direc- 
tor, considers the agitation against 
children working in movies just so 
much nonsense. 

"My four youngsters have all worked 
in pictures — and look at them!" I had 
to admit, after spending an afternoon 
romping on the beach with them, that 
they were unspoiled and natural. But 
there again is an isolated case. The 
Beaudines live like average small-town 
people instead of in the luxurious style 
they could command. A family of sev- 
eral children is less inclined to abnor- 
mality. And these children work for 
their own father. You see, this makes 
a mighty big difference! Beaudine tells 
me that his children regard the money 
they earn by acting in the same light 
that another child would look upon 
money earned from a paper route. Are 
motion-picture children normal? De- 
cidedly yes! says William Beaudine. 

But his pretty young wife, overhear- 
ing the discussion, cried, "No! They 
are far from normal ! They show off 
every minute and have no idea how to 
get along with average children! It's 
almost always their mothers' fault." 
She doesn't consider her youngsters 
"motion-picture children" because if 
they work it's under their father's eye ! 

IT is especially significant that, though 
most of the stars could place their 
children in pictures, the majority 
guard them closely from all studio con- 
tacts. Harold Lloyd's and Gloria 
Swanson's children do not realize that 
their parents are famous, and have 
never been inside a motion-picture stu- 
dio. "My children are not to be ex- 
ploited!" is the cry of such stars as 



Norma Shearer, Clive Brook, Nancy 
Carroll, Will Rogers, Victor McLaglen, 
Joan Bennett, and dozens of others. 
Why? Because they, who are so very 
close to the pulse of the industry, be- 
lieve that childhood cannot be prosti- 
tuted for the amusement of the world 
and yet remain normal ! 

I CARRIED my question to a dozen 
other sources — to the wardrobe mis- 
tresses and designers, the make-up spe- 
cialists, the publicity writers, electri- 
cians who work on the sets, to shop- 
keepers who see the little darlings in 
their off-screen moments, even to neigh- 
bors of these tiny screen celebrities. 
Are motion-picture children normal? 
Should they ivork in films? Oh, the re- 
plies I received! 

"Children who work in pictures are 
like animals in a zoo!" 

"They are exploited for the comfort 
of their parents. . . . When the children 
grow up they will demand an account- 
ing from their parents of every cent 
they have earned, and a world of bitter- 
ness will result." (This has happened 
several times in motion-picture history, 
you will recall!) 

"It's cruel to make a child cry for 
the camera." 

Little Mitzi is the only child in pic- 
tures who can cry easily — and like it! 
Once, during the filming of "Young 
Donovan's Kid" they made small Jackie 
Cooper cry by threatening to give him 
castor oil. When the scene was taken 
and he realized that it was a hoax, he 
piped up, "Now, how'U you get me to 
cry? That castor oil gag's all shot!" 
So precocious is Jackie that it has even 
been rumored that he is a midget, not a 
child of eight. However, he is a child. 
... A motion-picture child. 

The language on the average motion- 
picture set is not always for little 
pitchers to overhear. There are stars 
and directors so talented that they can 
swear five minutes without repeating a 
word. They sometimes forget there 
are children near. 

The working hours of a motion-pic- 
ture child are often irregular and tedi- 
ous. During the making of a certain 
epic production, many scenes of which 
were filmed after dark, a mother kept 
her two-year-old child awake through- 
out the long nights by slapping him. 
The little fellow's tired terror added 
realism to the picture; but was it right 
toward the child? 

Another question arises: How will 
motion-picture work fit a child for 
earning its living when it grows up? 
The child knows nothing except acting, 
is not trained for another profession 
like other children. The actor's salary 
is exorbitant in "comparison with that 
of the average working man. Can a 
child who has drawn $100 to $1,500 or 
more a week in a job which offers con- 
stant variety settle down to $50 or $75 
in the routine job of an average 
worker? Even if, in childhood, he earns 
and saves enough to keep him in com- 
fort the rest of his life, can he adjust 
himself to loafing in a world of busy 
people? 

What chance has such a child? Can 
a motion-picture child ever really be 
normal? 



108 



The Neiv Movie Magazine, August, 1932 



Pet Oddities of the Stars 



(Continued from page 62) 



around that wild Irishman now. It's 
worth your life. 

Robert Montgomery is almost as bad 
about whistling in his dressing room 
as Jimmy is. 

And Bob makes sure of his idiosyn- 
crazy by wetting his thumb and stick- 
ing it against a piece of scenery be- 
fore going into a scene. 

GRETA GARBO? Yes, this is one 
time when Greta falls in line. 
She believes that thirteen is her hoo- 
doo and she tries to avoid starting a 
picture on the thirteenth of the month. 

Anything that has to do with pea- 
cocks can get a rise out of Ramon 
Novarro and Edwina Booth — except 
that with Ramon it's unfavorable and 
the opposite is true of Edwina. Ramon 
thinks that peacocks, even in decora- 
tions, are bad luck, while Edwina 
thinks so much of the bird that she 
likes to use the feathers decoratively. 

What with the new hats all having 
little feathers tucked in the front, side 
or back, Edwina's idiosyncrazy strikes 
us as being particularly timely for her 
millinery. 

If Jack Gilbert woke up in the mid- 
dle of the night and so much as sus- 
pected that his shoes were in a right- 
to-left position under the bed, he'd get 
up and change them. 

Jack still sticks to the old suscepti- 
bility for knocking on wood. But 
Marion Davies prefers the one that 
requires salt to' be thrown over her 
shoulder. Marion is one of the most 
generous persons in Hollywood, and 
she makes numerous gifts, but no one 
can ever boast that she gave them a 
purse for a present. Marion thinks 
that pocketbooks are such bad-luck 
things to buy that she won't even buy 
one for herself. The ones she has have 
been presented to her by friends. 

WE'VE known a lot of people who 
had a horror of throwing out 
scraps of bread — but Marie Dressier is 
the only sensible person we ever knew 
who had an aversion to throwing 
away scraps of meat. Marie cooks 
them into a stew on the back of her 
kitchen range. 

Joe E. Brown's idiosyncrazy is the 
numeral Seven. Joe would stake his 
reputation on the number. Wasn't he 
the seventh child in his family? And 
doesn't that prove something or other 
in favor of the numeral? 

When you sit down to write a letter, 
then decide that you can't write letters 
— it just isn't in you — think of Charles 
Butterworth and be consoled. Charles 
abhors letter writing. He thinks the 
world would be a better place if there 
weren't any letter writers. Then he 
stops, catches his tongue between his 
teeth and amends his statements by 
adding that fans are the only ones 
who should be permitted to send things 
through the mails. With the proviso, 



of course, that they treat him gently. 

Joan Blondell is James Cagney's 
idiosyncrazy. Now, there you go, get- 
ting us all wrong. We mean that 
James thinks Joan is just about the 
luckiest item that ever happened into 
a man's life, careerly speaking, of 
course. It wasn't until 1929 when he 
got his first big chance in a New York 
play, "Maggie the Magnificent," that 
Cagney ran across Joan. They played 
opposite each other and both scored 
heavily. 

Later on Cagney found himself oppo- 
site Joan again in "Penny Arcade," 
playing on Broadway. Still later, 
when he was cast in the screen version 
which emerged as "Sinners' Holiday," 
Cagney found that Joan was his lead- 
ing lady. So you can readily see why 
Joan is an idiosyncrazy — as well as a 
perfectly adorable little blonde. 

BESIDES Joan, Cagney's other idio- 
syncrazy concerns early-morning 
telephone calls. Some people in Holly- 
wood have a habit of seeing just how 
early they can get up to annoy a star. 
The first thing they do is rush to the 
telephone and call up, heedless of 
whether the star had to work late the 
night before or just sat up until ten 
P. M. twiddling his thumbs. It's people 
like that make Cagney crazy, without 
the idiosyn. 

Believe it or not, but Doug Fair- 
banks, Junior's, idiosyncrazy deals with 
work. He says he doesn't particularly 
like to work — has no yearning to work 
in any way, shape or manner — and 
does so only from necessity. But when 
he does work, he works hard. 

Another of his idiosyncrazies deals 
with grand opera; he says it's the most 
ridiculous form of art. 

Ben Lyon's weaknesses include a 
liking for Ford cars, antiques and good 
books. But Ben is no highbrow, even 
in his idiosyncrazy about books. He'll 
read almost anything at hand and get 
a big kick out of it. 

If you have a liking for polka dots, 
midgets, fortune tellers, lettuce, lime 
juice and flannel cakes, don't hide it 
because you think it's unique among 
idiosyncrazies. You're in the same 
class with Winnie Lightner. 

Winnie believes everything fortune 
tellers tell her; that's why she stays 
out of airplanes since one warned her 
against going up in the air. 

Not long ago Winnie gave a swim- 
ming party to a troupe of midgets 
playing in Hollywood — and spent most 
of the day rescuing them from deeper 
parts of the swimming pool. 

If Winnie had her way she'd retire, 
get fat, and do nothing but loaf around 
all day listening to good music. But, 
since one of her main susceptibilities 
is for the movies, she'll probably never 
get a chance to retire and grow fat. 
Especially if she eats enough lettuce 
and lime juice. 

















PATTERNS FOR SUMMER NEEDLEWORK 






To 


obtain 


circulars described on page 74, write to Miss Frances Cowles, 


in 


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of 


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three 


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The New Movie Magazine, August, 1932 



109 



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The reason some people get hay fever, while 
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Thousands of people who formerly suffered the 
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(Pronounced "sina-xip-tek") 




Paris vs Hollywood 

(Continued from page 55) 



CLAUDETTE COLBERT, Para- 
mount Player: "Decidedly yes, is my 
answer to the new Paris edict for the 
shorter bob. I have already had my 
hair shingled at the back so that the 
hairline the hairdressers are so rabid 
about shows distinctly. However, I 
have left the hair at the sides slightly 
longer so that it can be water-waved 
to dip over the cheek and then curl 
back, falling into line with the shingle. 
I may even go for the bangs Paris is so 
insistent about this season, that is if I 
can screw up enough nerve." 

NORMA SHEARER: "The new 
short haircut is a boon to the average 
woman. It combines the two qualities 
which everyone desires, smartness and 
convenience. To me there is nothing 
more attractive than a sleek, well- 
groomed head. The short haircut, 
which outlines the shape of the head, is 
becoming to almost every feminine 
type with the exception, of course, of 
the very youthful, ingenuish girl to 
whom a fluffy, flyaway sort of hair 
dress is a part of her personality. 
The new haircut and the new small, 
close-fitting, but tip-tilted hats usher 
in a season of smartness in place of 
the careful carelessness of other 
vogues. You can't wear the chic hat 
of this season with loose ends of long 
bobs trailing against the clean-cut 
neckline necessary to the smartness 
of the hats. But, to the woman whose 
head and face contours don't suit the 
ultra-short haircut, there are ways of 
achieving the same close-cut effect. I 
know of none better than the coronet 
braid, which winds snugly close to the 
head and gives the same smooth, regu- 
lar impression that is given by the 
short bob." 

CAROLE LOMBARD says: "I want 
to cut my hair shorter if my next pic- 
ture permits it. A motion picture 
player is rather limited as to the 
length of her hair. The long bob is 
ideal because it can be curled to ap- 
pear short, and is long enough to 
secure extra pieces for long hair coif- 
fures. 

"The new Parisian style, however, 
is very chic, and I have already adopted 
the bangs. The shingled effect at the 
back showing the hairline is something 
I may never be able to attain." 

SYLVIA SIDNEY: "Give me time. 
I have just bobbed my hair for the first 
time. It's a long bob, but it seems a 
great adventure to me. I am not 
ready for a shorter coiffure for a long, 
long time. The sketches of this new 
Parisian style are quite alluring, but I 
believe only a few women can wear 
them well. That sleek off-the-face- 
and-ears effect is not too flattering to 
the features . . . and the bangs are also 
rather trying." 

ANN HARDING, who wears her 
soft, straight ash-blonde hair parted 
in the middle and drawn loosely over 
her ears into a knot at the nape of her 
neck, will never join the ranks of 
"boyish bobs." She has a good reason 
for this. She says: 

"I prefer originality to imitating 
any style, whether it be in hairdress or 
hats. I think every woman should 



wear her hair in the manner most be- 
coming her. I should feel a stranger 
to myself if I cut my hair and wore 
ringlets." 

GENEVIEVE TOBIN: "I'm crazy 
about the new coiffures. The more ec- 
centric ones where shellac is used (of 
course, it's merely a preparation that 
makes the hair look that way and is 
not injurious in the least) are just 
fascinating. Wish I could play a role 
that would stand such a hairdress. It 
would be even more amusing than my 
'Mitzi' bangs! 

"The woman who has a perfect 
natural hairline all the way around, 
however, is the only one who should 
take a chance on the very extreme 
coiffures. Fortunately, I've never had 
to do anything to my own. When my 
hair is short, and I prefer it that way, 
it is never clipped up the neck, 
so the new Parisian "hairline" merely 
offers me another opportunity to in- 
dulge my penchant for variety in coif- 
fures. My record has been — a differ- 
ent hair arrangement for each different 
role. Naturally, I'm enthusiastic and 
hope to create a distinctive style along 
these lines that will be imitated — 
everywhere!" 

DOLORES DEL RIO, who wears her 
lacquer - smooth, dark hair severely 
drawn from a center parting, ex- 
posing her ears, to a low knot on her 
neck, is another to turn down the latest 
fad from Paris. Here's what she says 
about it: 

"I think one should study and em- 
phasize one's type in the dressing of 
the hair. I have adopted the coiffure 
I feel best suited to my features and 
my personality and do not intend to 
change to the close-cut fashion, which 
Paris now declares is the height of 
fashion. I should not dream of chang- 
ing from my distinctive coiffure to fol- 
low a passing fad. For myself, I like 
the dignity of long hair and the sleek- 
ness of straight hair." 

JEAN HARLOW: "I don't think 
that I shall ever wear the very short 
haircut which is gaining so much pop- 
ularity. It is not because I don't like 
it — I love to see it worn by women to 
whom it is becoming, but because it is 
not suited to the shape of my face, as 
is a fluffier, fuller haircut. It seems 
to me that women with larger features 
and rounder faces can wear this style 
of hairdress much more effectively than 
can girls with small features and 
faces." 

ANITA PAGE says: "The average 
girl will look at the convenient, com- 
fortable closeness of the new short 
hair-bobs with longing, but after many 
months of training and gaining the 
medium-length locks which have been 
so popular and becoming to almost all 
girls, she will hesitate a moment when 
it comes to using the scissors on her 
carefully acquired hair. I am facing 
that problem now, like thousands of 
other girls. With the coming of warm 
weather and the buying of the clever 
little hats on display in all the mil- 
linery stores, the short, close bob be- 
comes steadily more and more attrac- 
tive." 



110 



The Neiv Movie Magazine, August, 1932 



Hon. Ogre 

(Continued from -page 43) 



called "Grandy Hotel." He fill that 
hotel so full of stars that it bulges. 
Count them, if you can. 1 Crawford, 
1 Stone, 1 Garbo, 1 Beery & 2 Barry- 
mores." 

"Why they not got 2 Beerys?" I re- 
quire. 

"Something about 18th Amndnnt," 
he snuggest. "Maybe some day we 
can have light wine & Beery, then both 
Wally & Noah can appear on same 
program, full strength. But listen at 
me, Togo. Last night I incorporared 
myself as Famus Folks Flim Co., Inc. 
We must have the greatest play ever 
written, acted by the greatest actors 
that ever will be. What are the great- 
est play in all languages?" 

"Abie's Irish Rose," I ollicute ex- 
actly. 

"Then we must have one like that 
called something else." 

"Mickie's Jewish Tulip," I snuggest. 

"Goshes, what thinkers we find in 
Japan!" he lapse. "That play are 
good as written." He start walking 
from places to places, saying to him- 
self, "300,000$, 600,000$, 2,681,498,- 
001$." This sound deliciously like 
Pres. Hoover inventing a new Natl 
Cash Register. "I can do!" he say 
so. "I are the Master Mind that con- 
trol the Foxes, the Zuckors and nearly 
% of the Warner Bros. And now 
what? Ha & ha-ha. I have a plan to 
shake the wood out of Hollywood." 

"Axcuse me when I loose my breath," 
I rampage. 

"Togo, what I tell you now are 
strickly confidential. Do not tell a liv- 
ing sole, except the police, the Mayor 
of Los Angeles and the reporters. My 
first movement will be this. I shall 
fire everybody in Hollywood." 

"No!" 

"Yes! !" 

"Oh!!!" 

(Please have your printer put a lot 
of punctuation on these adjectives.) 

" A ND after they are fired," he snag- 

■i*. gle, "I shall hire back stars to 

make such a Hitt that the world will 

come to an end, or do something else." 

"Goody," I chub. "Hon. Mr., what 
are a Star?" 

"A Star are a actor (male & female) 
what can burst his contrack and get 
richer with every burst. Togo, the 
slogum of my Famus Folks Flims, Inc., 
will be 'Nothing But Genius Allowed.' " 

Hon. Ogre get so excited he com- 
mence to holla like a Congressman. 
Now I know why the Xtras on the 
Lott call him "More Barrymore." 
That are because he can rore like a 
Lionel. 

"Now!" he rore like enraged mega- 
phone, "we must think up a plot for 
'Mickie's Jewish Tulip.' Let us begin. 
We dishcover Miss Tulip Smith, a 
Jewish florist, starving on the streets 
of N. Y. This part will go to Miss 
Nancy Carroll." 

"But Hon. Nancy are Irish," I col- 
lapse. 

"I have no racial prejudish," he dib. 
"And there goes 100,000$ for first re- 
hearsal. But on with the story. On a 
wetish night in Janruary the Rev. 
Hiram Drinkwater, goody man of vir- 
tue, go into a Slumm. There he see 
Miss Tulip. O what a headache gets 
into his heart! He sing a song, 'Really 



I Am Fond of Flowers.' This song 
will be played by N. Y. Philharmonic 
Symphony Okestra, 99 pieces, all solo 
artists." 

"But who "will take part of Rev. 
Drinkwater?" I require. 

"The Marx," he show down. 

"But there are four Marx, by axual 
count," I say. 

"TPHEY work so well together," he 

A explain, "that most folks think 
they are one (1). At this junction in 
the story we will fetch in 2 newschil- 
dren to holla Huxtry with papers. 
They will be the two Jackies, Coogan & 
Cooper. Then we will have " 

"Hold up!" I snarrel. "You say you 
will have a Alstar Cast of 6 persons. 
Already you got 99 solo horn-blowers, 
4 Marx, 2 Jackies & Miss Nancy Car- 
roll " 

"Arithmatic are made for merely 
bookkeepers!" he grouch. "Do not 
interrup my genius when it is burn- 
ing up. Now I shall tell you the Big 
Scenery in my flimdrammer. When 
Rev. Drinkwater prove unworthy of 
the hand, or even the foot, of beeooti- 
ful Tulip, income Hon. Mickie O'Hooli- 
gan, playing a Spanish zither. 'Sure 
begob & begorra,' he say-so, 'hoot 
mon, ye're the sonsie lassie, Miss Tulip.' 
Then they love. Love conkers all, do 
it not? It do. Quick fad-out." 

"Who will be this Hon. O'Hooligan 
in reel life?" I ask to know. 

"Maurice Chevalier," he snuggle. 

"Would not Hon. Emil Jannings be 
more good for that part?" 

"I have thought of him," he im- 
prove, "but he are not so axpensive 
to buy this week as Maurice Chevalier. 
Now, Togo, since we got our show 
ready, prattically, let us get together 
our Cast and start a rehussle. Kindly 
elope to talefone and ring up all those 
people I mention." 

Well, Mr. Editor, I tell you. When 
I ring up those Stars they was doing 
nothing but coming right away. When 
I say 10 a.m. in the morning they 
couldn't bearly wait. Next morning 
they arrive so fastly you would think 
they got a date with Sax Appeel, or 
some other big shoot in Filmland. And 
waiting in parlor of the Ogre House 
were so many stars they look like this: 

* * * * * 



YES sir, there was such a quantity 
of Stars that it look like American 
Flag without any stripes. 

Getting together an Alstar Cast 
seem so easy it appear deceptive. Was 
Hon. Marx Bros there? Oyes. In 
such numbers that I thought they must 
of had twins. And Hon. Maurice 
Chevalier? Yes. He say Excuse It 
because he were only V2 minute early. 
But azzfor Hon. Nancy Carroll, she 
get there before brekfast. 

Then Hon. Ogre say, "Welcome, 
Famus Folks. Come into my Think- 
ery and we will commence." So they 
all intrude into there. Shut door. 
Silences for 2 days. I set outside, re- 
minding myself that Art, when it are 
working, must not be bursted from the 
outside. Once Hon. Ogre, with some 



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The Neiv Movie Magazine, August, 1932 



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Hon. Ogre 

(Continued from i><<u< j 111) 



of his hair pone, poke out head and 
corrode, "Send for Allah Nazimova." 

"I, I, sir," I salute. 

"Nope! Come back! Send for Pola 
Negri instead." 

"I, I, sir!" 

So I fetch forth Hon Pola and chuck 
her through that door. 2.3 V£ hours 
later Hon. Ogre stick head gain. 

"Send for a lawyer," he dibble. I 
commence going, but he holla, "Halt! 
Send for 6." 

I fetch them, thank you, and lock 
them into that Thinking Studio. 

Two more days passover. Sometime 
I awake up to bring in a milk can, or 
give the stimulation of soup to those 
Thinkers inside there. Once in a 
whiles they holla, "O glasswater!" 
febbly, so I fetch that with ice. 

THEN pretty soonly, after 4 or 5 
days have collapsed, door bust open 
and out walk all Stars, down to Jackie 
Coogan & Mother. They look tired but 
weary. Because I must know what 
was, I go to Hon. Harpo Marx, that 
little chattering-box who always talk 
too much. "I are so sick of Marx," he 
dib, "that I cannot look at another 
without swallowing my hair. But this 
were a great Confrence for Art. This 
are the Picture of the Age." 

He go somewhere to faint from ax- 
austion. 

Then I uprun to Hon. Maurice Chav- 
lier. With haunted eye-brows I ask, 
"Have you finished everything?" 

"Prattically everything," he nob. 
"Axcept for a few details the Picture 
are completed." 

He dishappear with wore-out expres- 
sion like a man going to commit sui- 
cide or take a bath. 

Then I encroach rudely to Hon. Pola 
Negri. "Pola-Pola," I narrate, "tell 
me this information. What were ac- 
cumplished when the 6 best Cellars 
of Movieland was glued together for 
5 days with the Mussolini of the 
Screen?" 

"Everything," she retork. "Nothing 
remain now for anybody else to do." 

SO they go their separated ways to 
find ham and eggs, sleep, haircuts, 
soap, babies, relidgeon, facial mas- 
sages & all the things which make life 
so beautiful. 

At lastly I find Hon. Geo. F. Ogre, 
walking very limp toward bedroom 
where Miss Caramel Sweet still studied 
painting. 

"This long meeting of No. 1 Brains 
were a great triump, not so?" I re- 
quire. 

"Since sound & motion have com- 
bined in the Pictorial Art," he scrape 
out, "there have been nothing like this. 
Nothing like it before or since. Ha! 
Now we have something New ! ! ! The 
hardest part are over, fortunely. I 
can sleep for 6 months." 

"You have been rehussing the pic- 
ture in there all this long time?" I ask 



very much requiring to know. 

"Nope. Nothing so insignificant." 

"You have been writing it then, 
maybe?" 

"Huh. No time for such insignifi- 
cance." 

"Then what you been doing to turn 
your great brains inside out so cum- 
pletely and uttermost?" 

"We have been signing contracks," 
he divludge. 

I stand ghast for that phenomenal. 
Then my mind got inflated with one 
enlarged Thought. 

"Listen at me, Hon. Ogre," I negoti- 
ate. "Have you noticed something? 
Have you noticed that you have not 
gave your Wife some part in that Al- 
star Cast?" 

"O goshes! O cats and dogs!" he 
holla, while snapping his thumbs till 
they broke. "What an undersight. I 
are always forgetting something. So 
glad you remind me of that. I must 
seek the bedroom of Hon. Wife (re- 
ferring to Miss Caramel Sweet) and 
explain to her why I left her outside 
of my Famous Folks. She will under- 
stand, will she not?" 

SO with fearless boots Hon. Geo. F. 
Ogre, Dicktator of Hollywood, 
stomp upstairs. He encroach into 
Hon. Caramel Sweet bedroom and 
make door-bang. Not wishing to over- 
hear what he say, I put ear to key- 
hole. 

Following sounds come out: 

"O sobb." Female sound. "0 Geo., 
how did I marry such a species of 
fried ant?" Silence (female). "0 
glugg! What newspaper told you that 
Woman are a actoress? Don't kiss 
me. Don't come withing 4 yrds of me. 
How dares you insult me again in an- 
other way from usual?" 

"But, dolling, precious lemon marang 
pie." Male sound. Then I hear noise 
of 88 lipsticks hitting a window amidst 
furniture, glasswear and female war- 
cry of "O, what can poor, weekly 
woman do to defend herself from such 
horror?" 

Then outrush Hon. Ogre with nearly 
all his shirt sacrificed and one (1) eye 
awfully mashed. 

"Togo," he say so, "rapidly talephone 
newspapers that Hon. Geo. F. Ogre 
have changed his great mind into 
something else. Tell them I have gave 
up idea of Alstar Cast. Tell them 
that I are going back to ole fashioned 
One Star Play, persenting Miss Cara- 
mel Sweet in the perfectly heartbroken 
flimdrammer 'Poor Little Woman.' Do 
this at oncely or I shall ring your 
kneck." 

"When you have sunshine in your 
home," I renig, "you do not need stars 
to heat you up." 

I am feeling like cotton. 

Hoping you are the same, 

Yours truly, 
Hashimura Togo. 



WATCH FOR TOGO EACH MONTH 

Everybody is enjoying the Hollywood adventures of Wallace Irwin's inimitable character, 
Togo. Mr. Irwin assures us that the adventures of Togo in the screen capital in the next few 
months are the most hilarious which the Japanese schoolboy has yet met, and he says it with a 
twinkle which promises much. Watch for the next Togo exploit in the September issue. 



112 



The New Movie Magazine, August, 1932 



Box-Office 
Critics 




Dorothy, You're Good 

Wilmington, Delaware 

Congratulations to Dorothy Mackaill. 
I As Gilda in "Safe in Hell" she was 
simply wonderful. Dorothy has al- 
| ways played her 
sophisticated roles 
with such under- 
standing that you 
just had to like 
her. But along 
comes "Safe in 
Hell" and here she 
reveals herself as 
l a real emotional 
actress of tre- 
mendous force, 
and I know she 
won lots of new 
, fans through this picture. Although 
; most magazines classed this picture as 
' not being so good, I thought it was 
; really wonderful. Of course, Dorothy's 
j acting really made the picture. She is 
I so real and natural, and she seems to 
actually live the character she por- 
trays. She reminds me of a girl who 
would never high-hat any one. 

She is my favorite actress, and has 
been ever since I can remember (I am 
16), and I know she will always stand 
highest in my favor. I can hardly wait 
for her next picture to come to Wil- 
mington, because I know I will see some 
really worth-while acting. 

(Miss) Jerry Mason, 
2412 West Street. 

Tribute 

San Diego, California 

The play was "Amateur Daddy" with 
my favorite actor, but he did not act, 
just lived the part 
and took us all 
with him. 

The tender bed- 
time scene, his 
personality, his 
voice, the little 
song, the sleepy 
child, will be for 
me a beautiful 
memory. I was 
young again and 
rocked and sang to 
sleep the "littlest 
one." 

I am 79, and I just love Warner 
B&xtfir 

Mrs. A. M. Gurwell, 

2952 Fir Street. 

Tired of it All 

Seattle, Washington 

A little more sincerity scattered in 
the publicity stunts would benefit the 
players more than some of the press- 
agent stuff offered to us at present. 

For instance, our family was (notice 
past tense) a staunch Garbo fan; now 




THE NEW MOVIE MAGAZINE pays 
one dollar for every interesting and 
constructive letter published. Address 
your communications to A-Dollar-for- 
Your-Thoughts, THE NEW MOVIE 
MAGAZINE, 55 Fifth Avenue, New 
York City. 




we don't bother about her at all. Why? 
Just because we're weary of the eter- 
nal raving about her "big feet" and 
"woman of mystery" idea. If she's 
bashful and reticent and dumb why not 
let her alone? She'd probably elicit 
more sympathy then. 

The same applies to Lew Ayres' sen- 
sitiveness; Joan Crawford's intense 
marriedness and failure to understand 
life (or is it herself?), Constance 
Bennett's sex-appeal, etc., etc. 

Fran Melrose, 
6220— 37th N. W. 

Cuckoo Comment 

Laivndale, Philadelphia, Pa. 

Why in the name of good movies 
don't they give Richard Arlen a break? 
To my mind he is 100% perfect. Can't 
imagine why he 
isn't given a good 
part. He has looks, 
build, pleasant 
voice, and is so 
natural in any 
role. 

Paramount must 
be cuckoo to let 
him slide. And 
there are plenty of 
others who feel the 
same way I do 
about him. 
Anyway, no maUer what happens to 
him, he'll always be my favorite. 
Margaret Conrad, 
828 E. Levick Street. 

Miss Swallow Raves 

Neicport, Mon., England 

Mr. New Movie, do me a favor. 
Give me just a little space in your 
great magazine to give a little praise 
to my favorite actor, Walter Byron. I 
think he's great, marvelous — aw! 
what's the good of raving? I just can't 
express my opinion properly. Well! 
Here's wishing him luck and a couple 
of boosts. And now I've got that off 
my chest. A thousand thanks to a 
swell magazine, and a hasty retreat for 
a crazy movie fan. Well, so long! 
Betty M. Swallow, 
14 Corporation Rd. 

All Right, Let's 

Oak Hill, W. Va. 

Three cheers for Cecila Parker, the 
newcomer to the screen. Give her 
bigger and better pictures, and show 
the world what she can really do. Help 
her to climb the ladder of success 
quickly. Here's wishing her luck. 

Marie Vest, Box 243. 

From a Shut-in 

Clinton, Oklahoma 
Although I have 
been ill for the last 
two years and 
have not been able, 
personally, to at- 
tend a theater or 
see a picture, I be- 
lieve I know the 
stars about as well 
(Please turn to 
page 114) 




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The New Movie Magazine, August, 1932 



113 



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Box-Office Critics 

{Continued from. i>agc 113) 



as others who do actually see them. 

I can say freely it is only the movie 
magazines that make this possible for 
me. No one but a shut-in knows what 
a real pleasure it is to be able to keep 
up with your old favorites, and to learn 
also about the new stars, even though 
you can't always see them on the screen. 

Joan Crawford is my favorite. I 
have watched her climb up from a hey- 
hey girl to the beautiful, poised woman 
of today. 

Clark Gable is one of my newly- 
acquired favorites, although as yet I 
haven't seen him on the screen. 

Elizabeth Miller, 
State Sanatorium. 



Where's John Wayne? 

Iskpeming, Michigan 

Hear ye! 

When an actor or actress makes a 
hit in one big- picture, why do they so 
often do the fade-away act or have their 
fame die a natural death through ob- 
scure pictures? I speak in the cause of 
one John Wayne, who played the dash- 
ing- hero in "Big Trail." Please do 
something about it quick, for he's a 
jolly good fellow and we like him heaps. 
Mayme Mattson, 
517 Division Street. 



Knives and Yells 

Wilmington, Delaware 

Three cheers and a tiger for "Tar- 
zan!" The children were mad about 
it. Nickels and dimes have been 
hoarded for weeks to gain admittance 
to "Tarzan." 

Every little boy for miles around is 
carrying a knife, and yelling like a 
Mohawk Indian. Almost every dog in 
the neighborhood has been a lion in 
disguise, and suffered terribly from the 
grip of little grimy hands at its throat. 
All the little girls have made plans to 
go to Africa, and find a man for them- 
selves who can throw tigers, and play 
ring-around-a-rosie with elephants. 

Johnny Weissmuller was made to 
order; not for a long time will mothers 
have to make their boys eat their spin- 
ach. A few more pictures like "Tar- 
zan" and the children will give you a 
great big hand. 

Virginia Gregory, 
1805 Washington Street. 



Waited For Years 

Philadelphia, Pa. 

Well, at last my wish has come true 
after all these years. What was my 
wish? Well, I'll tell you. 

Back in 1925, I saw a picture called 
"The Shamrock Handicap." This pic- 
ture had for its players Janet Gaynor 
and Leslie Fenton. The former has 
long been a star, but I always used 
to wonder what happened to the latter. 
I used to wish that the studios would 
recognize talent and pick him out. At 
last they did, and if you saw "The 
Hatchet Man" I am sure you will agree 
with me that Mr. Leslie Fenton de- 
serves to be starred just the same as 
Gable and the rest. 

Lillian Golen, 
4028 Parkside Avenue. 



Phone Him Sometime 

Hollywood, Calfornia 

You can nut me down as a "New 
Movie" fan — and this is how it hap- 
pened. Your magazine passed me un- 
noticed until some months ago I saw 
a feature article by Jim Tully listed 
among the contributors. That caught 
me, and never have I read a more 
thrilling criticism (it was the article 
about Barbara Stanwyck) ! It showed 
the motive powers behind her success — 
chipped off the Hollywood veneer and 
gave us a picture of a flesh-and-blood 
woman, rather than a "Movie star". 

The next month I squandered an- 
other dime to read about William 
Powell — then Menjou — and so "New 
Movie" has become a habit with me. 

This is to thank you for your fine 
discrimination in giving us articles by 
a writer who not only knoivs his sub- 
ject, but tells what he knows! 

Anne O'Neal, 
1755 % N. Ivar Ave. 

And Other Places, Too 

New York City 

Sometimes, I wonder whether Holly- 
wood is not another "Grand Hotel." 
People come, people go. A few years 
ago, there was Maurice Costello. Then 
Betty Blythe. Wally Reid. Mary 
Pickford and Douglas Fairbanks. Anna 
Q. Nilsson. John Gilbert. Who knows 
of the little tragedies that stalk the 
lives of the movie great? Who knows 
when some great star will be pushed 
aside to make room for a newcomer? 
People come, people go. Many things 
happen, but we, like the doctor in the 
film, do not know what they are. We 
know only the surface — the parties, the 
incidents on the lot, the marriages, 
divorces, births. . . . People come. . . . 
People go. . . . 

Pearl A. Katzman, 
555 West 173rd Street. 

Service of Mankind 

Wilson, N. C. 

At last producers are giving the 
medical profession a break. The doc- 
tor is no longer depicted as a fussy 
old man in a wrinkled suit who peeps 
from behind his glasses and prescribes 
pink pills, but as he really is, a quick, 
efficient person, scientific to the nth 
degree, but human, too, with a heart as 
well as a brain. Barthelmess in "Alias 
the Doctor" and Colman in "Arrow- 
smith" were splendid representations 
of the modern M.D. 

Through the medium of motion pic- 
tures, the public has been "behind the 
scenes" in the hospital of today. 
We've been permitted to see technicians 
busy in the laboratory, radiologists at 
work in the X-ray room, nurses in their 
crisp, white uniforms, radiating effi- 
ciency, and we've even been taken into 
the holy of holies, the shining, immacu- 
late surgery, where we've watched 
surgeons perform difficult operations. 

So I say, more power to you pro- 
ducers who have done so much to 
acquaint us with the doctors, nurses, 
technicians, and research workers, who 
are modern crusaders in the service of 
mankind. 

Edna Walters, 
300 N. Pine Street. 



114 



The New Movie Magazine, August, 1932 



Dreams 



(Continued from page 68) 



And even at eleven he knew he 
wanted to be an actor, would be an 
actor! Every night he dragged his 
weary boy's feet to the public library 
and pored over Shakespeare and Dumas 
and Dante. The neighborhood toughs 
teased him to recite dramatic speeches 
for them, so they could laugh at him. 
All day long as he worked he recited 
to himself. At the lumber mill they 
called him "that absent-minded kid." 

Feeding a yellow pine beam into a 
whirring circular saw one day, he was 
saying over to himself one of Shylock's 
speeches from "The Merchant of Ven- 
ice." Bright red blood spurted against 
the wall. Dreaming, he had fed his 
hand into the steel saw. There is not 
a finger on either of his hands that is 
not crushed and scarred. He went from 
job to job, still dreaming, and every 
factory left its cruel mark on him. 

ONE connection with his adored the- 
ater he had. He met an old Ger- 
man who had played as a super with 
Mansfield and Irving and Mantell. 
The old fellow guzzled hard cider, when 
he could get it, and the quarter a week 
which was John's pocket-money went 
for cider so that he could sit and listen 
rapturously to the tales of the foot- 
lights. And then the shy little boy re- 
turned home to his own neighborhood, 
where he was a laughing-stock for 
blocks around. One year passed, then 
three, five, six, and still he drudged. 

One day he committed an unpardon- 
able sin. Unable to bear it any longer, 
instead of going to work in the morn- 
ing he went to the library. All his life 
he had wanted to spend a whole day 
there, it seemed to him. All day, from 
nine in the morning until the place 
closed at night, he sat there, away from 
the din of the power looms, and read, 
read, read. 

It was the only day of freedom he 
ever knew in all his childhood. The 
mill discharged him for it. 

Suddenly, then, his mother died. 
Before he could quite realize what had 
happened, freedom was thrust into his 
hands. Now he had only to earn money 
for himself; and, for himself, all he 
cared about money was that it could 
help him get on to the stage. 

He saved up enough to take a course 
at a school of dramatics, at which one 
of the teachers was Dr. Childs, profes- 
sor of rhetoric at the University of 
Pennsylvania. "He's the finest man 
I've ever known," John still says. In 
the hardened, toughened little factory 
boy the professor's keen eye caught the 
spark. "He worked with me week after 
week, teaching me how to talk decently, 
teaching me not to be ashamed of my 
love of beautiful words, showing me 
how to study, urging me to go on." It 
must have been good teaching. It 
brought him, when he was about 
eighteen, a small part in a Philadel- 
phia stock company. 

Then New York — with no friends, no 
help, no promises, no money, no repu- 
tation, no prospects, only his knowl- 
edge that actors are born and that he 
was one of them. "But my biggest 
drawback was my shyness," he says. 
Small wonder when with the exception 
of two men, a drunken super and a 
kindly professor, all the world had so 
far done was stamp on him and laugh 
at him. In New York, not yet twenty, 



he lived in a two-dollar room over a 
dingy saloon. At rare intervals he 
found a job for a night "carrying a 
spear." Day after day he made the 
rounds of the theatrical agents' offices, 
but there was no work for him. 

He was hardly an impressive-looking 
candidate. He had one suit, and it was 
almost in rags. He was pale and thin, 
living on five cents a day. A bakery 
near the saloon sold stale cakes for five 
cents apiece. He had lived on stale, 
sweetish cake and water for two weeks 
when an agent said, "I've got a movie 
job for you. Fort Lee Ferry tomorrow 
morning at nine o'clock." 

This was 1912, and the old Biograph 
Company had started making pictures 
in New York. John had one nickel 
left. He flipped it to see whether he 
should buy stale cake that night, or 
ride to his job in the morning. The 
subway won, and he went to bed sup- 
perless, lying awake all night and 
rising so early that he could have 
walked to work after all. 

AT the Fort Lee Ferry a motley gang- 
had collected. Half the riffraff 
in the city, it seemed, was to serve as 
the mob for Biograph's war picture. 
While they waited, shivering in the 
wind, a row of shining limousines drew 
up, carrying the leading actors and the 
directorial staff. There was an hour 
of squinting up at the gray, clouded 
sky. Then the big cars, without so 
much as a look at the shivering mob, 
drove away. The light was bad. "Back 
here Monday morning," an assistant 
shouted from the last car. 

That was Thursday. All Thursday, 
all Friday, all Saturday, all Sunday, 
John had no food. Monday morning 
finally came. He walked the nine miles 
to the Ferry. This time the light was 
all right. The mob were stuffed into 
the dirty, wrinkled Confederate uni- 
forms provided by the costume depart- 
ment and taught how to charge across 
the "battlefield." The cameras started 
turning. John, trying to run, was too 
weak. He stumbled and fell. An as- 
sistant director jerked him to his feet 
and cursed him. "Too lazy to run, are 
you? Just for that, this time you beat 
it ahead of the others and jump up 
on that cannon and wave for them to 
come on." 

Just as he got in front of the cannon 
it boomed. The concussion hurled him 
back against a tree, nearly breaking 
his back, and stunned him. In terror 
of being fired, he staggered on, clam- 
bered up on the hot metal and went 
through the bit of business. The scene 
was retaken six times. Time after 
time he stumbled, ran, leaped and 
waved. He had not eaten solid food 
in three weeks. He grew weaker and 
weaker, spots dancing before his eyes, 
cold sweat trickling down his face. 

"Lunch!" some one shouted. 

THE five hundred in the mob charged 
the lunch-wagon like a pack of 
snarling beasts. John, starved, was 
too weak to run. When he got to the 
wagon all the food was gone. 

The light failed at five o'clock, and 
work was done. The theatrical agent 
was on the spot to take twenty-five 
cents of the $2.25. John rode to his 
gloomy room on the car because he 
(Please turn to page 116) 



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The New Movie Magazine, August, 1932 



115 



J 







Dreams 

(Continual from page 115) 



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Could not walk, and handed his land- 
lord $1.95, apologizing for the lack of a 
nickel. 

"What's the matter, son?" the man 
Bslced. "You look sick." 

"I'm all right. " 

"You're an honest kid. If you need 
the money, I can wait for the rent." 

Not until then, his shell of shyness 
broken by the first piece of kindness he 
had encountered in months, did the 
boy break down and confess that he 
had not eaten, that if he paid the rent 
he did not know when he would eat 
afrain. "Five minutes later," he says, 
telling the story now, "the landlord had 
me in bed, and his wife was feeding 
me broth. It was just my shyness." 

Shyness — and bravery, perhaps. He 
does not mention that. 

Starvation could lick him no more 
than the mills could lick him. An actor 
he was born, and an actor he would be. 

THAT incident could be multiplied 
by twenty, by forty even. The same 
sort of bitter struggle went on and on, 
endlessly. Some of us are lucky in that 
the breaks run against us only nine- 
tenths of the time; now and then we 
get a piece of luck. John never did. 
The struggle never let up. 



It was twelve years before the critics 
hailed his work on the New York stage 
in the play, "Silence." Some of the 
things he endured in those twelve years 
John will not tell. They are too cruel, 
too bitter. But after "Silence" came 
"The Enemy," and after "The Enemy" 
came that masterpiece of the ten- 
twenty-thirty, "Broadway," and then 
came "Tin Pan Alley." A success at 
last as an actor, rather to his own sur- 
prise he also became a success as a 
playwright. He wrote "Nightstick," 
which on the screen became "Alibi," 
and played in it, opposite Claudette 
Colbert. He co-authored "The Sap 
from Syracuse." 

Then Hollywood. 

He does not quite fit into Hollywood. 
He is too shy, too modest, too reserved, 
although he tries his best to shake 
hands and slap backs and be "one of 
the boys." They still call him "that 
absent-minded guy Wray." He does 
not even dare to drive an automobile — 
for he is reciting lines, planning situa- 
tions every minute of the day, and he 
would be sure to smash against a lamp- 
post. 

He hardly ever goes to a party. He 
eats, breathes, thinks acting, acting, 
acting. Actors are born! 



In the Hollywood Whir 



(Continued from page 75) 



in the flesh and had begged her to 
show the star to her. 

JEAN HARLOW and Chic Sale were 
discussing dogs, and Chic said that 
Colleen owned the most beautiful Great 
Dane in the world. Jean bridled at 
that. She said she owned the most 
beautiful Great Dane. 

Jean looked like a doll in her beige 
flat crepe afternoon dress with her 
pokish white hat. She isn't a bit 
tanned, but says she means to get that 
way with sun baths. 

"But not my face," she said sen- 
sibly. "Which will be a good thing 
for other girls to remember." 

Chic Sale is really a youthful look- 
ing man. But he said that his daugh- 
ter, who is in school, had begged him, 
"Oh, daddy, please dress up and come 
to visit my school so that the girls won't 
think you are an old man!" 

I found Fredric March and his 
lovely wife, Florence Eldridge, sipping 
tea and eating their sandwiches in a 
cozy corner of the sun-room, and I 
asked Miss Eldridge if she didn't mean 
to do something more on the stage. 

"Oh, I like to appear in one play a 
year," she said, "so as to pay for 
Fred's Christmas present! I hate to 
charge it to him." 

She confided that she and Fred had 
no children, but that if they did not 
have one during the next year they 
meant to adopt a little one. 

Gary Cooper arrived alone. He said 
he was dying to go back game hunting 
in South "Africa, but that it cost a lot 
of money. 

Jack Pickford showed up at that mo- 
ment, looking well despite his long ill- 
ness. 

Harold Lloyd and his wife Mildred 



were among the guests. Mildred wore 
a white gown of soft material and a 
white maline picture hat, which was 
most becoming. 

Billie Dove was looking perfectly 
lovely in a gown made of Bedford silk 
trimmed with two shades of fox fur — 
gray and tan — the fur edging the 
sleeves in the two-shade combination. 

J ETTA GOUDAL was there with 
Harold Grieve. Harold and Col- 
leen are old friends, and there is a 
real affection among the three. Jetta 
looked stunning in a black and white 
gown. 

Violet Heming came for a few min- 
utes, and then flitted, and I'm sorry I 
haven't space to name all the other 
people who were guests. 

OF course there must be a reason 
or an excuse or something for 
every party, and what could be a more 
interesting reason than to do honor to 
a man like Dr. Arnold Franck, who 
has ever so many gorgeous out-door 
pictures to his credit? 

Anyhow, frivolous Hollywood de- 
cided it simply must meet him at Carl 
Laemmle's gorgeous home on the 
Laemmle estate in Beverly Hills. 

We found that. Dr. Franck couldn't 
speak English, so we decided that Tala 
Birell and Margaret Lindsey — the 
latter the newest Universal acquisi- 
tion from the London stage — must be 
the guests of honor. We couldn't find 
Tala at the moment, though, so we 
concentrated on Miss Lindsey, who 
proved to be amusing — as well as 
amused — at her first Hollywood party. 

Margaret wore a dark blue Bedford 
silk, with white vest, white shoes and 
white hat — very snappy. 



116 



The New Movie Magazine, August, 1932 



IB 



In the Hollywood Whir 



June Clyde was one of the cutest 
girls there. She is so young looking 
that it is always something of a shock 
to find that she is married, but you for- 
give her when you meet her charming 
husband, the director, Thornton Free- 
land. She looked as if she had just 
stepped out of a Paris fashion-plate, 
dressed in a dark red flat crepe, with 
white sports hat and white fox fur. 

Paul Stein was among the guests. 
He has just come from London, where 
he directed Corinne Griffith in a pic- 
ture called "Lily Christine," from a 
story by Michael Arlen. 

Paul said he had had a wonderful 
time in St. Moritz, where he met 
Charlie Chaplin ski-ing every day with 
Marian Reeze, the Venetian girl to 
whom he was so devoted, and he said 
that Syd Chaplin usually was along, 
too. 

Lew Ayres and Lola Lane were 
there, Lola cute in a rose-o'-the-morn- 
ing sports suit. 

Tala Birell looked sweet in a brown 
ensemble with coat and beret, and 
Lupita Tovar wore a black and white 
fancy sports suit, and white hat. 

A NUMBER of the wealthy patrons 
of the arts are giving little teas 
and other pleasant affairs for the 
Hollywood film folk, these days. One 
of the very nicest affairs was that 
given the other day by Harry Hollo- 
way, millionaire sportsman and art 
patron of Beverly Hills. Marguerite 
Churchill was the guest of honor. 

Miss Churchill was looking especially 
chic in a Paquin afternoon frock of 
pink crepe and an Agnes hat made of 
pink rosebuds. Anita Louise was as 
lovely as a little flower, in two shades 
of beige ostrich cloth, with shoes also 
in two shades, and a little hat to 
match. 

Vivienne Osborne wore a black Main- 
boucher model gown of flat crepe ma- 
terial, adorned with black organdie 
roses, an Agnes hat and a silver fox 
fur. The dress was made with a cape 
and had especially graceful lines. 

We told Anita Louise she should 
have brought her harp to play for us! 
She plays it beautifully, you know. I 
heard her one day at her apartment. 
We decided when she gets to heaven 
and plays a harp she won't look any 
prettier, as Jack Quartaro, who had 
gone with his sister Nina, over to the 
party with me, remarked. 

Thelma Todd, who had been ill with 
a cold, arrived, looking lovely in a 
flowered chiffon afternoon dress with a 
large picture hat. Thelma always 
wears large hats, and they are most 
becoming. 

Lila Lee and Dorothy Tree were talk- 
ing about Tahiti, where Lila spent so 
many months, in the home of Gouver- 
neur Morris and his wife, when she 
was recuperating from her long illness. 
Lila told us that she got so tanned 
that the native girls used to laugh in 
glee because she was darker than they 
were. 

Lila said the world, since she is well, 
looks like a new world to her. She is 
looking awfully well — as plump as 
can be, and all sunburned. She said 
she had loved the desert, and felt a 
curious and powerful desire to return 
to it, even though she had often been 
lonely down there. 

Jan Rubini, the famous violinist, and 
his lovely wife, the prima donna, Adele 



Crane, of Australia, were among those 
present, and he played beautifully for 
us. 

Our host, Mr. Holloway, seemed the 
youngest of us all, though he confesses 
to far over fifty. Jack Quartaro 
offered to teach him to dance the 
rumba. The result was quite the live- 
liest rumba we had ever seen. 

Marguerite Churchill, Nina Quartaro 
and Estelle Taylor tried to learn the 
dance, too, and really were clever at it. 

In fact, you will find everybody at 
parties nowadays, trying to learn the 
dance. 

Juanita Hansen and Jackie Saunders, 
stars of a few years ago, were there. 
Juanita always wears long sleeves, to 
cover the burns she received on her 
arms in her bath at a hotel, from 
which, by the way, she recovered sev- 
eral thousand dollars damages. But 
her face is entirely unscarred, and is 
sweet and absolutely without a line. 
She has many picture offers, too. 

Our gallant host had ordered orchid 
corsages for all the feminine guests. 
They arrived a little late, but we all 
congratulated ourselves that they 
would now serve for our evening dates. 
Only Irene Purcell was inconsolable 
because she had no date that evening, 
but she did hope the flowers would 
stay fresh in the refrigerator till the 
next day. 

Marguerite Churchill and Nina 
Quartaro used to go to school together 
in the east. Marguerite asked Nina if 
she remembered a certain boy in school 
— Raymond Guyon? "Oh, my, yes," 
Nina answered. 

"Well, I was told, when I went into 
'Forgotten Commandments,' " Mar- 
guerite said, "that a certain Jean Ray- 
mond was to be my leading man. But 
when I saw him, who should it turn 
out to be but our old friend, Raymond 
Guyon! We simply fell on each other's 
necks, as everybody else in the cast 
was a stranger to us." 

'" I * EAS are growing to be more and 

A more the fashion in Hollywood, I 
see," remarked Ronald Colman. 

We were chatting at Josephine Whit- 
tell's tea, in her pretty home which 
hangs like a beautiful bird's nest from 
a crag overlooking a green valley in 
Hollywood. The valley is green be- 
cause it is a golf course — but why 
bring that up? 

Josephine is from the New York 
stage, you know, and is in Hollywood 
for pictures. 

Ronald is wearing a little mustache, 
but he says that, for pictures, he al- 
ways shaves it to a fine line, as other- 
wise it looks rather walrusy on the 
screen. And then he assured me again 
that he wasn't engaged to anyone. 

Clive Brook and his wife were among 
the guests, and Robert Warwick and 
his present wife, Stella Larrimore, 
sister of Francine. Robert had once 
been married to Josephine Whittell, by 
the way, but they are still friends— 
and even Warwick's present wife is 
Josephine's friend, too. Stella had 
been over all morning — she and Robert 
live next door — making the sandwiches 
and a particularly good little toasted 
cheese hors d'oeuvre for Josephine's 
party! 

Grace LaRue and her husband, Hale 
Hamilton, were among the guests, and 
both Grace and Josephine sang some 
numbers. 




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The New Movie Magazine, August, 1932 



117 



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Minnie (Joes Highbrow: Conductor 
Leopold Stokowski of the Philadelphia 
Symphony, who recently led a band of 
unemployed musicians in the streets 
of the City of Brotherly Love, is, as 
you've probably heard, intensely inter- 
ested in all modern music — particularly 
its rhythms. 

Small wonder then that Stokey is 
reported to have fallen for the appeal 
of "scat" music as exhibited by its 
originator Cab Calloway — and Cab's 
sister, Blanche. They say that when- 
ever Blanche Calloway goes to Philly 
on the vaudeville circuit that Stokowski 
always goes to hear her. Who knows 
maybe Stokey's planning a "Minnie 
the Moocher" Symphony next. 

Sleepy Time: On a broadcast dur- 
ing his recent tour Morton Downey fell 
asleep while Tony Wons was reading 
his nightly poem, but he says it was 
only because he was tired out from the 
train rides. 

Downey and Kate Smith each made 
about $300,000 last year. Now Mort 
has seen all the extremes from singing 
one song thirteen times for the Prince 
of Wales to sleeping on a park bench. 

Pulitzer Prize: Back in 1925 a slim 
young man named W. Burke Miller of 
Louisville, Ky., got the Pulitzer Prize 
for journalism. He's probably the only 
man from Kentucky who ever did any- 
thing and wasn't brevetted a colonel. 
As a reporter for the Louisville 
Courier- Journal Miller wormed his way 
several times a day down the narrow 
shaft to the cave where Floyd Collins 
was imprisoned and later died. He 
combined a slight build — he stands 
about five feet four and couldn't weigh 
over 120 after an eight-course dinner — 
with amazing courage or he never could 
have pulled it off. 

He is the same "Skeets" Miller who 
directs broadcasts of all important 
news events for NBC. Skeets doesn't 
like to talk about his daring feat, and 
we wouldn't be surprised if it was the 
glare of notoriety which surrounded the 
Kentucky cave tragedy that made him 
leave Louisville where he was a local 
hero. He came to radio not because 
he was a newspaper reporter but be- 
cause he has a fine baritone voice. But 
the press department at NBC got him 
before the microphone had a chance. 
Result, he is still potential talent as a 
singer. 

The American Opera: Russell Ben- 
nett, one of the whitest hopes of Ameri- 
can serious music, is Paris bound to 
an opera. This year he did all the 
orchestrations for two smash hits on 
Broadway — "The Cat and the Fiddle" 
and "Face the Music." 

At the Philharmonic Stadium Con- 
certs last summer, one of his more pro- 
found works got a warm reception from 
the musical intelligentsia but left the 
public cold. 

When Rudy Vallee was on vacation 
in California this winter, Russell di- 
rected four radio broadcasts for Rudy's 
client. The book for Mr. Bennett's 
opera, is being written by Robert A. 
Simon, music editor of the New 
Yorker and member of the radio de- 
partment of the same large advertis- 
ing agency which sponsored these pro- 
grams. Last year Mr. Bennett won two 



composition prizes in the $25,000 RCA 
contest. 

Baton for Blue Pencil: A great friend 
of Russell Bennett's is William Daly. 
Mr. Daly conducted the Philharmonic- 
last year at the Stadium for the Ben- 
nett and George Gershwin selections. 
He and Mr. Bennett did all the orches- 
trations for Gershwin's great Broad- 
way success, "Of Thee I Sing." On 
the radio Mr. Daly conducts the or- 
chestra for Lawrence Tibbett's Mon- 
day Broadcasts. So far as we know, 
Daly is unique in two ways: He is 
the only Harvard man ever to conduct 
a symphonic jazz orchestra anywhere; 
and he is the only magazine editor who 
ever dropped a blue pencil and took 
up a baton. At the age of 24 — nine- 
teen years ago — Mr. Daly tossed up his 
job as managing editor of Everybody's 
Magazine after a fight with his adver- 
tising department. He knew he could 
get away from advertising entirely if 
he capitalized his musical ability. 

So he got a job as a dollar-a-year 
man, or almost that, conducting musi- 
cal comedy for Lee and Jake Shubert. 
Now as a radio maestro the tables are 
turned again and he's working for two 
big advertisers. He has an apartment 
on Fifth Avenue not far from Otto 
Kahn's, but just the same he never 
seems to be able to afford a hair-cut. 

Strange Moments with Familiar 

Stars: Buddy Rogers says that he 
runs two laps around the Pennsylvania 
Hotel roof every morning . . . Vaughn 
de Leath missed three vaudeville ap- 
pearances because she got off her horse 
before it stopped. . . . Smith (Pavilion 
Royale) Ballew won his first job to play 
at a hotel when only a boy in Palestine, 
Texas, by serenading the hotel owner's 
daughter. But the girl's father did 
not understand love, for he fired him 
within three days. 

Let's Peek into the Studios: Look! 
There's Kate Smith — the girl in the 
corner with the horn-rimmed spectacles. 
It's a rare treat because Kate doesn't 
allow visitors in her studio. And 
there's little Nat Brusiloff in his shirt- 
sleeves, his violin under his arm. Now 
he lifts his bow to start the orchestra 
and Kate, from behind her mike, leads 
it with him until it's time for her to 
sing. . . . 

There's lovely Jean Sargent with her 
hands on her hips, poised before the 
microphone as if she were facing a 
whole theater. The little girl is get- 
ting the thrill of her life. And why 
not? For there's Flo Ziegfeld on her 
right, beaming because he "found" her. 
And look, on her left! Genuine Zieg- 
feld Follies beauties. Take a good look 
while you've got the chance. Tomor- 
row they'll be married to million- 
aires. 

Oh, and don't miss Harriet Lee, the 
beautiful blond girl with her hands half 
outstretched gesturing to the mike. See 
those red nails. They match her 
lips. . . . 

But wait! — here's the funniest thing. 
Step in where Jack Denny is leading 
his band. See that portly gentleman 
waving his hands in front of Jack's 
conducting stand. He's leading Denny. 
But Jack isn't kicking. That man is 
the sponsor and he pays Jack's salary. 



: 



118 



The Neiv Movie Magazine, August, 1932 



Hollywood Bandwagon 



(Continued from page 18) 



LETTERS FROM HIS DOG: Roscoe 
■> Ates made his first personal ap- 
pearance without his dog recently. He 
said the biggest kick he received out 
of the trip was the two weekly letters 
he received from his dog. Roscoe has 
a servant who has been with him many 
years and it was he who wrote the 
letters to Roscoe, the dog signing them 
by dipping his foot in ink and stepping 
on the paper. 

ANOTHER RAGE? Dick Powell 
> seems to be another fern rage! 
He was an orchestra leader in Pitts- 
burgh. His mail was heavy with his 
Pittsburgh fans before he ever started 
a picture. They declared in no un- 
certain terms how delighted they were 
that they were going to be able to see 
Dick on the screen. 

Someone said he looks like Rudy 
Vallee should look! That means he is 
romantic and heavy on the sugar. He 
was originally slated to play the title 
role in "The Crooner," but David Man- 
ners won that role and for some reason 
Dick was given another. 

FILM FUN: W. S. Van Dyke says 
there is one comfort in taking this 
trip to the farthest and coldest shores 
of Alaska. When he comes back they 
can't think up any worse places to send 
him! 

Van, who has no spirit of adventure 
in his blood, no desire for travel in his 
soul, no itch in his feet to go any- 
where, but only an overwhelming de- 
sire to live a tranquil life in California 
and shoot pictures on the MGM back 
lot. is the one who is sent to the far 
corners of the earth to shoot pictures 
in actual locales! Such is the irony of 
life in Hollywood! 

Van is now well on his way to Alaska 
on an old whaler, several hundred tons 
overloaded He is not kidding him- 
self he has a cinch. His book "Horn- 
ing into Africa" is doing very well, 
and before he left he said: "Every- 
one screams at me, 'Aren't you just 
too thrilled? Think how many trophies 
you can bring back with you this time 
. . . and you can write another book 
about it all.' I always answer these 
morons with 'Oh, yeah? Maybe!'" 

Van was disgruntled and not any 
too cheerful before he sailed. He said 
he didn't look forward to going into a 
clinch with an iceberg on the way up 
there until help arrived, nor did he 
thrill at the thought of having to hug 
a fire for a year to keep alive. (There 
are plenty of chances he and his party 
don't make it and Van knew it!) 

KEYS TO CITY SOLD: When Estelle 
Taylor auctioned off the furnish- 
ings of the home she and Jack Demp- 
sey formei'ly lived in on Los Feliz 
Boulevard, practically everything was 
gobbled up by exalted souvenir hunters. 

One of them even bought the key 
to Culver City given Jack in other 
days. 

With real estate moving so slowly, 
however, it was more difficult to find a 
buyer for the house, itself. 

"It's terrible having a depression 
when times are so hard," said Estelle. 

Jack Oakie tells one on Gary's 
trip to Africa: 



"Gary was being feted by an 
African Chieftain. When the meat 
course happened around, Gary 
made conversation by asking, 'Is 
this gnu meat?' 'No, jabbered the 
host, but it's just as good as 
gnu.' " 

P)OG BUSINESS: Motion picture 
*-' folk are beginning to take their 
dog breeding seriously. 

At the last show of the Los Angeles 
Kennel Club at the Ambassador Hotel 
a number of them had entries. 

Among them were Hardie Albright, 
Clara Bow, W. R. Burnett, John Consi- 
dine, Danny Danker, Marion Davies, 
Hazel Faust, Charles Furthman, 
Frances Marion, Hal Roach, Florence 
Ryerson and Zeppo Marx. 

So far as Hollywood is con- 
cerned, "the Mystery of the South 
Seas" — and the only one — is how 
did Tom Geraghty manage to stay 
down there so many months ivith- 
out getting sunburned. 

KONG" IN SECRET: Certain sec- 
tions of the Radio lot these days 
are like a fortress to get into. "Kong" 
is to be a complete and total surprise 
to everyone except the cast, the direc- 
tor and crew, the writer and the pro- 
ducers! And the readers of Edgar 
Wallace's diary in New Movie. 

No one can even approach the sets 
where they are working on threat of 
being expelled from the lot. It is to 
be a soi-t of "Lost World" affair with 
great beasts let loose amidst civiliza- 
tion in its most concentrated zones 
(cities) and in their natural jungle 
habitats. 

Hollyivood's jobless have a new 
racket. They deliver phoney 
C.O.D. packages to the stars homes 
when they know the boss is at 
work. 

BILLY AS DECORATOR: Billy 
Haines had to pay more income tax 
on his interior decorating and antique 
store proceeds than he did on his mo- 
tion picture salary. 

Billy has a sixth inspirational sense 
when it comes to creating atmospheres, 
perfectly authentic and yet with a 
warm personal modern touch which no 
one else seems to equal. 

He has just finished redecorating 
Joan and Doug Fairbanks' home in 
Early American period, with a per- 
fectly irresistible atmosphere of charm 
which brings out the vibrant person- 
alities of the two stars who live there! 

He decorated Lilyan Tashman's and 
Edmund Lowe's beach house in a dar- 
ing ultra modern red and white motif. 
Someone said: "Turn it inside out and 
stand it in front of any barber shop 
and the passer-by would walk right 
into the shop to have a haircut without 
thinking twice. . . ." But that was un- 
kind. 

He decorated Leila Hyams' beach 
house in Dutch colonial and gave it a 
quaint atmosphere so typically Dutch 
that when one is inside they are trans- 
ported to Holland and expect to see a 
great picture-postcard windmill groan- 
ing in the wind outside any window! 
(Please turn to page 120) 




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The New Movie Magazine, August, 1932 



119 




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Hollywood Bandwagon 



( Continued from page 119) 



Richard Arlen continues l<> add 
to his collection of sleight-of-hand 

trick*. They now total fifteen. 

Mrs. (Edward "Little Caesar") 
Robinson, on her recent return to 
Hollywood from a trip abroad, 
brought home a funny story con- 
cerning her conversation with 
II. nun H Swaffer, London movie 
critic, who combines one of the 
sharpest tongues and wits that 
London has. He is a very much 
feared critic. One day, when the 
Robinson party was lunching at 
the Savoy, he was brought to their 
table and introduced. Eyeing Ed- 
die critically, he leaned over and 
said, "You know, Mrs. Kobinson, 
you Americans make us English 
feel very superior with your gang- 
ster pictures and underworld films. 
You know, we have nothing like 
that over here." 

"Oh, I don't know," said Mrs. 
Robinson. "London seems to me to 
be full of places where they ex- 
hibit the block on which somebody 
was beheaded or the spot on which 
someone else was hanged or 
assassinated." 

"Dear lady," said Swaffer, "ail 
those are silent pictures." 

That extortion plot against Joan 
Craivford, which studio officials 
minimized and District Attorney 
operatives fumbled, was more seri- 
ous than you heard. 

GARY'S CHIMPANZEE: Gary Coop- 
er had quite a time trying to find 
a house and a street where they would 
permit him to bring his chimpanzee! 
He (the chimp) is a cute little fellow 
and of course Gary has had a house 
built in the backyard just for him, but 
most neighbors think distance lends 
enchantment to a chimpanzee. 

"He's such a cute, friendly little fel- 
low, I simply can't imagine people not 
wanting him around," says Gary. 

But ladies living in the homes next 
door seemed to feel they wouldn't sleep 
a wink if they knew their neighbor was 
a chimpanzee. "That's just it! He 
might be a bit too friendly and climb 
into my bedroom window some night 
to chat awhile with me," said one 
young lady. "He is cute — but at a 
great distance," she said positively! 

Alexander Kirkland has an 
aversion to jewelry of any Icind 
. . . even his shirt studs are 
wooden. 



N 



ND THAT'S FAITH: And now the 

Fox Publicity Department tells 



One of the most prominent and well- 
to-do screen actors in Hollywood re- 
ports daily at the studio carrying his 
lunch in a regulation tin dinner pail. 

He is Warner Oland, and is one man 
in Hollywood who still has faith in his 
wife's cooking. 

Speaking of a period in his 
career when his fortunes had 
reached a new low, Spencer Tracy 
says: 

"My pants were so thin I could 
sit on a dime and tell whether it 
was heads or tails." 



WE HOPE SO, TOO: Adrianne 
Allen, that new discovery from 
merry old England, may be seen in 
"Merrily We Go to Hell." The studio 
expects big things of her. 

CHIC SALE COLLECTS: Chic Sale 
added another wig to his collection. 
He recently visited Death Valley 
Scotty. He was so intrigued by Scot- 
ty's crowning glory that he photo- 
graphed it and turned the picture over 
to his wigmaker. 

Spencer Tracy recently took a 
few days off work to run down 
and give the new Hoover Dam his 
official okay. His comment was: 
"What a swell place to fish!" 

"pALL HER SAVAGE": Tiffany 
vJ Thayer, who wrote "Thirteen 
Men" and "The Greek," is the author 
of Clara Bow's first starring vehicle on 
her return to the screen. It is "Call 
Her Savage" and production is due to 
start now. 

WHAT'S HAPPENED? : Elsie Cort 
used to be leading woman for J. 
Warren Kerrigan fifteen years ago, 
when he was a star in thrillers. She 
is now head of the information desk at 
the Fox Studio. And Charlotte Wood 
who used to be leading lady for Bill 
Hart and others at the old Triangle 
Studio, is now in the Metro-Goldwyn- 
Mayer publicity office. 

The script called for an eight- 
year-old boy that stuttered to 
portray the son of Roscoe Ates. 
What a job the casting director 
had to find a boy ivhose tongue 
would go into a side-slip at the 
proper time — but he did! 

BUSTER'S KIDS: Buster Keaton is 
father to two little Fixits. Joe 
and Bob, aged ten and nine, are 
warranted to put everything out of 
order that is movable, and to make 
more trouble than is ordinarily thought 
possible for even two small boys. One 
day Buster thought he would take the 
two varnish removers with him to the 
studio, with results that still send stu- 
dio aides into frenzied howls of dis- 
tress in retrospect. 

Things started warming up within 
ten minutes of their arrival. The 
camera lens kept getting out of focus. 
The lights began to go on and off, like 
a haunted house. Eddie Sedgwick 
finally gave them a big build-up to go 
over and see Bill Haines work on an- 
other set. Off they went. Then the 
studio phone began ringing on their 
father's set. A weary voice said, "I 
wonder if Mr. Keaton would mind if 
we sent the boys over to watch Clark 
Gable. He's doing a very interesting 
scene." 

Bells were ringing steadily from then 
on. Buster took it big, and remarked, 
after finally putting the two kids safe- 
ly in an old tiger cage from "Tarzan" 
on the back lot, with ice cream cones to 
hold 'em, "Well, there's one thing sure, 
those two kids would never stay lost 
long." 

Richard Wallace, the director, is 
a quiet, unobtrusive fellow with a 
quiet twinkle in his eye, who sel- 



120 



The New Movie Magazine, August, 1932 



Hollywood Bandwagon 



dom misses anything. He had 
completely fooled a visiting En- 
glish actor at the Paramount lot, 
who thought Wallace was swallow- 
ing everything he was telling 
about how superbly and thorough- 
ly everything is done in England. 
"In England, we have trains that 
go one hundred and fifty miles an 
hour, and motor cars that can do 
two hundred miles," said the actor, 
getting quite enthusiastic. 

"That's nothing," said Wallace 
soberly. "In this country we have 
steam rollers that plow up the 
streets at two hundred and fifty 
miles an hour." 

"Astonishing!" said the English- 
man, dropping his monocle. "Isn't 
that dangerous? Mightn't some- 
body be knocked ovah?" 

"Oh, no," said Wallace seeing he 
had his antagonist down. "We 
have a man running in front with 
a red flag." 

WHEN A DOUBLE COUNTS: Tom 
Kilpatrick, the American toreador, 
is doing some scenes for Lew Ayres' 
new picture "Men Without Fear." 
After all, you wouldn't ask Lew to get 
in the same ring with a bad he-cow, 
would you? 

LEO AS AUTHOR: Leo Carrillo has 
■J turned author. He's writing a book 
called "The Carnival of Papier Mache" 
. . . and it's about Hollywood! 

Estelle Taylor has purchased a 
new home at the Malibu. 

PARTNERS ALL: A number of 
those who went to the South Seas 
with Douglas Fairbanks are to par- 
ticipate in the profits of the picture. 
Among the partners are: William 
Farnum, Edward Sutherland and Tom 
Geraghty. 

Sylvia Sidney won her first stage 
roles because of her ability to 
scream loudly. 

SALLY AT TEA: We saw Sally 
Eilers at a tea party while she was 
in New York for her brief visit and 
Sally looked ravishing in a black tweed 
suit with black and white stock tie. 
Sally knew just what would show up 
her lovely complexion when she chose 
a black and white close-fitting hat, the 
white draping, of course, nearest her 
forehead. 

TUPE DRESSED UP. And speaking 
•*— ' of good looking Spring outfits, we 
encountered Lupe Velez at last in a 
street costume. Lupe's always being 
seen in gay evening gowns or pajamas 
or something that you just couldn't 
copy. But this day she had on a smart 
bluish-gray crepe silk suit; one-piece 
frock with short jacket and the softest 
blue fox trimming at the elbow-length 
sleeves. Lupe was wearing long blue 
suede gloves with this costume. 

SUES FOR HER BOOP: Helen Kane, 
who boop-boop-a-dooped her way 
into film fancy, is at it again. This 
time "Ellie" wants a quarter of a mil- 
lion dollars for her boop, because she 
says she originated it and it's worth 
a lot of money. Max Fleischer, who 
designed Mickey Mouse and Betty 



Boop, is the defendant in Helen's suit 
to recover her boop, or Max must pay. 

On a preview - critic's postcard 
the other day appeared the follow- 
ing criticism: "Tom. Mix shifts 
around too much. I don't like the 
way he wears his Mexican hat. 
Tom should fight more!" And the 
postcard bore the signature of 
Tomasina Mix, his daughter. A 
man is without glamours to his 
own family. 

IS BUDDY LONELY: Saw Buddy 
Rogers the other evening getting 
into a taxi all ALONE. With hundreds 
of pretty New York girls begging him 
for autographs and photos, Buddy 
looks like the lonesomest boy in town. 
We've discovered him several times 
sauntering along Madison Avenue 
alone, gazing a bit wistfully into furni- 
ture shop windows. 

BILLY LEEDS, whose millions and 
millions were made by those tin pie 
plates we all use, is beginning to be 
serious. Maybe Raquel Torres is the 
reason for he's been seen often at the 
Central Park Casino with Raquel. Any- 
way, Billy insists, after all these .years 
of gathering reputation, that he is not 
a playboy. 

James Cruze's daughter, Julie, 
has taken up baton waving. She 
has organized a band of fourteen 
pieces. 

DEGGY A PRODUCER: Peggy Fears, 
A the dynamic little Texas gal who 
first became a chorine with Ziegfeld, 
then went to Hollywood to marry the 
millionaire realtor, A. C. Blumenthal, 
has decided to become a motion picture 
producer. 

pETITE Peggy, all wrapped up in a 
A white flannel dressing gown, snug- 
gled into a big chair at her Ambassa- 
dor suite on Park Avenue and outlined 
her plan. First a play version on 
Broadway, then the play turned into a 
movie. 

Her first production will be "Child 
of Manhattan" now running to a full 
theatre. Clara Bow is to be the star, 
but insists that Rex Bell play opposite 
her. So Peggy Fears had a part espe- 
cially written into the play for Rex. 
. . . All this, if plans go through. 

Wonder what Gilda Gray's shim- 
my will sound like in talking pic- 
tures. Well, we will soon have a 
chance to hear it in "Minnie the 
Moocher" — for certainly nobody 
would write a picture for Gilda 
without a shimmy! 

TUNE AND JIMMY: When June 
>J Knight, playing in Ziegfeld's "Hot 
Cha," heard the news that Jimmy Dunn 
was going places in Hollywood with 
Maureen O'Sullivan, 3000 miles didn't 
mean a thing. June got Jimmy on the 
phone and later hung up with a smile. 
When wedding bells ring out for 
Jimmy, June says she won't be only a 
bridesmaid! 

Oh, death where is thy sting! 

They are going to title Flau- 
bert's immortal classic, "Madame 
Bovary" — "Indecent !" 

(Please turn to page 122) 



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The New Movie Magazine, August, 1932 



121 



Hollywood Bandwagon 



\ .■■/.• any producer "Why? — -Why? 
— WHY! — and he will invariably 
shrug cud give the favorite pro- 
ducer's alibi, "Box Office!" 

B I LI-IE DIZZY: Billic Dove was 
dizzy considering opportunities 
when she returned from her rest trip 
to Florida and New York. 

She was approached for a Radio 
broadcast series! She was urged to go 
on personal appearance tours by sev- 
eral vaudeville circuits. She was 
coaxed to accept a European engage- 
ment. She was offered so many pic- 
tures by major studios that she grew 
weary reading scripts and trying to 
decide which one she wanted to do . . . 
and the marriage opportunities she was 
urged to consider — well, don't let's go 
into that! 

"Really, I have more fun following 
my own love affairs in the papers," 
says Billie. "You see, they ai-e always 
six jumps ahead of me! Yesterday it 
was Jack Dempsey, today it is George 
Rapf, tomorrow it may be Ben Turpin 
or the Prince of Wales. It's lots of fun 
to look through the papers to see whom 
you are 'getting serious over' each 
day!" 

Billie is beautiful, bubbling, full of 
fun and ready for anything — but Billie 
at the present writing is not seriously 
in love with anyone. She says she 
loves her freedom and loads of good 
friends and fun — and marriage sort of 
spoils all that. She will not consider 
marriage until she is so much in love 
that everything else is overcast by that 
one person! 

MEET THE VALLEES: Fay Webb, 
whom New York knows better as 
Mrs. Rudy Vallee, looks grand since 
her vacation back in California. We 
saw her recently with Rudy and the 
way they looked at each other across 
a rose-lighted table was enough to put 
an end, forever, to all rumors of sepa- 
ration. 

O-O-O, LA, LA: Fifi D'Orsay has a 
new perfume which she mixes 
herself, and it is positively exotic. No, 
Fifi won't tell just what she puts to- 
gether because "eet ees the French 
woman's seecreet, la, la!" 

BUSINESS BEFORE BEER: Jimmy 
Walker tried to get Marlene Die- 
trich to come on to New York for his 
famous "Beer Parade" to lend it a 
touch of German elegance, but Marlene 
was too busy in Hollywood at the mo- 
ment. 

AND HAVE YOU HEARD? A well 
l\ known Park Avenue (New York) 
reducing specialist has been in close 
touch with Clara Bow lately, and it's 
whispered Clara will never be bothered 
with overweight again. It worried her 
for a while. 

LONELY SISTER: We see Rosetta 
■> Duncan going it alone in vaude- 
ville and looking a little lonely for her 
sister when she's through with the 
day's work. 

ROUND TRIP TO FAME: It took a 
roundtrip ticket to New York to 
give Dolores Rey her chance in pic- 



(Continucd from page 121) 

tures. Dolores was born in Fresno, 
came to New York where she became 
an Earl Carroll show-girl. Discovered 
by Ziegfeld while she was dining at 
the Casino one evening, Dolores went 
to work for him. Now she's just signed 
with Columbia and is traveling back 
to Hollywood and movie fame. And 
they say Cinderella's story was a fable. 

Cliff Edwards, at a Pierrette 
purty, wanging two forks on the 
table like a ukulele, while some of 
Park Avenue's most decorous debs 
went into their Hawaiian stuff. 

KIPLING WAS RIGHT: Speaking of 
Pierrette, where the movie stars rub 
elbows with smart New York society 
every Saturday night, reminds us that 
Judy O'Grady and the Colonel's Lady 
seem to be one under the skin. It was 
a treat to see swanky society doing the 
Virginia reel — Peggy Joyce lifting her 
pink chiffon trimmings so that the 
heels of Vic McLaglen wouldn't catch 
in the finery. 

PARIS TO A HAIR: Rosika Dolly, 
one of the famous dancing twins, 
and who, by the way, is Connie Tal- 
madge's sister-in-law now, having mar- 
ried Irving Netcher, looks exactly like 
what most of us believe the beauty 
salons of Paris can turn out. Inky 
black hair, sun-tanned complexion, 
scarlet lips, flawless eyebrows. And of 
course, a slinky black gown and long 
earrings. She was the cynosure of all 
eyes when she and her new hubby 
walked into a party we were gracing. 

Genius must have its way, we 
suppose, or that's what the waiters 
at Lindy's, Broadivay gathering 
place, must think when they see 
Irving Berlin pull off the crusts 
from his rye bread and leave the 
soft center. 

AS CUTE AS HER VOICE: Gracie 
- Allen, of Burns and Allen (who 
do get into such silly arguments in 
their short reel comedies) looked as 
cute as her babyish voice sounded when 
she danced around the St. Regis' roof 
in New York the other evening. She 
was wearing a very tailored white 
satin evening gown. And, oh, yes, she 
was with her hubby, George Burns. 

NTOT REALLY, YOU KNOW: Re- 
"i member George Metaxa, who 
played the heartless gigolo with Clau- 
dette Colbert in one of her pictures? 
We've discovered that George is quite 
the nicest kind of man at heart and is 
safely married to a little lady quite as 
charming as himself. George runs 
around New York with the movie 
crowd although he's playing in a 
Broadway show at present. 

OLD SWEETHEART NOTE: When 
Leo Carrillo was in New York we 
happened to be eye witness to a little 
real life drama when a sweetheart of 
long ago couldn't resist the temptation 
to see Leo just once again. Leo stood 
positively transfixed at the sight of 
"Marion" and then they went into their 
reminiscences. The lady, it seems, is 
married now and the mother of several 
kiddies. 



A CHICAGO CONTINENTAL: And 

** so we learn that Baroness Fern 
Andra is engaged to marry Ian Keith. 
Fern is one of the most striking women 
in all Hollywood, decidedly continental 
in manner, yet she hails from Chicago. 
Won a beauty contest when fifteen and 
was given a trip to Europe as prize. 
She loved Germany and stayed to marry 
a Baron. 

TpHE ORIGINAL TARZAN: While 

•■■ Johnny Weissmuller basks in the 
glory of the spotlight as the current 
"Tarzan," the original "Tarzan" lives 
in comparative obscurity not far from 
Broadway's bright lights. How many 
remember Elmo Lincoln? Yet he was 
just as great a sensation in his day as 
Johnny is now. Lincoln owns the Lin- 
coln Studio in New Jersey, where the 
first "Tarzan" picture was filmed. He 
makes a comfortable income renting 
out the studio to independent pro- 
ducers. 

ANOTHER BAD BREAK: Bad luck 
l seems to pursue Charles Ray who, 
not so long ago, was the most popular 
actor on the screen. After several 
years devoted to voice culture and the 
difficult grind of playing in stock, 
Charlie thought he finally had a break 
when he was co-starred in a stage 
revue with Patsy Ruth Miller. But 
the revue never got to New York. 

A/TR. GRIFFITH TANGOS: D. W. 

^-'■» Griffith is making the most of his 
inactivity by stepping out to some of 
the Broadway late spots, often in the 
company of some charming girl, usual- 
ly of the blonde, fragile type, somewhat 
l-eminiscent of Lillian Gish. D. W. 
delights in dancing and it is not be- 
neath the dignity of the "old master" 
to execute the most complicated tango 
steps. 

LILLIAN AND DOROTHY: Speak- 
> ing of the airy, fairy Lillian, did 
you know that she is in the midst of 
writing her autobiography? And they 
do say that George Jean Nathan, whom 
she usually accompanies to first-nights, 
is helping her. If Lillian tells all, it 
should make mighty interesting read- 
ing, for she and her sister practically 
grew up with the industry. Dorothy 
Gish, who has been active on the New 
York stage for the past few years, 
seems to have far out-stepped Lillian 
as an actress. She is superb in light 
comedy, one critic (not G.J.N.) even 
going so far as to compare her to 
Lynn Fontanne, than which there is 
no greater praise. 

NOT FOR HER: With practically 
all of the stage stars stampeding 
to the screen as the result of talkies, 
there is one who remains firmly en- 
trenched in the theatre. Her name is 
Katharine Cornell, and she is reigning 
queen in her realm. It's difficult to 
imagine a screen "Barretts of Wim- 
pole Street" without her, yet she has 
consistently turned down the most 
flattering offers. Too bad, although 
there is something grand about her 
stand in the matter. Wonder who will 
do "The Barretts"? Helen Hayes 
would be our choice for the role of 
Elizabeth Barrett-Browning. 



122 



The New Movie Magazine, August, 1932 



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Lorraine Hair Nets are invisible 
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They are worn by well groomed 
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Whether your hair is bobbed or 
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looking, wear a Lorraine Hair Net. 




F.W.WOOLWORTH CO 5«°10 CENT STORES 




enjoys a milder cigarette 



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And wherever you go, up and down and across the 
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if you came by ourj 
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© 1932, Liggett & Myers Tobacco Co. 



Hear the Chesterfield Radio Program.. 
Every night except Sunday. Columbia 
network. See local newspaper for time. 



^ 






n 
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1 


1 




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OVEM 








I 

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U 

w 

p 





A TOWER 
MAGAZINE 



WILL 
HAYS 

Begins the 
Greatest Inside 
Story of the Films • . 
told for the first time 



GAZIN& 



SEPTEMBER 
1932 



151 I" Canada 




RUTH CHATTERTON 
by 



By WILL IRWIN 



Clark Gable's First Sweetheart 





Keep Appearance Up 
-Expense Down ! 

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and Dyeing so Easy and Quick with Tintex 

Why spend hard-to-get dollars replacing faded 
underwear . . . dresses . . . drapes . . .curtains... 
etc.? Just spend a few pennies for easy-to-use 
Tintex and restore their color-freshness — or 
give them new colors. 

That's how Tintex is helping millions of fami- 
lies to keep up smart appearance and keep 
down needless expense — in wearing apparel 
and home decorations. 

Simple! ...even a child can use Tintex. Perfect! 
...only professional work can equal it in 
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1ET her powder her nose ten times a day 
j — if she wants to! But it might be 
well for her to remember that every time 
she laughs or talks, men look at her teeth, 
too! Everybody looks at them! 

Now— if you want to be good-looking 
when you talk and smile, do something 
about those flabby, tender gums of yours. 

Today's foods are soft. They fail to 
give your gums any stimulation. That's 
why your gums are tender. That's why 



you find "pink" on your tooth brush. 

Know about "pink tooth brush"? Do 
you know that it not only can dull the 
teeth, but can lead to gingivitis, to Vin- 
cent's disease, even to pyorrhea? Do you 
know that it may endanger the soundness 
of your teeth? 

Today — get a tube of Ipana Tooth Paste. 
Clean your teeth with it. It's first of all a 
splendid modern tooth paste that really 
cleans the teeth. Then— each time— put a 




little more Ipana on your brush or finger- 
tip, and rub it right into your gums. 

Ipana contains a toning agent called 
ziratol. This, with the massage, stim- 
ulates circulation and firms the gum walls. 
Within a few days, your teeth will look 
whiter and brighter. Within a month, 
your gums will be firmer. Keep on using 
Ipana with massage, and you can forget 
all about "pink tooth brush." And you'll 
never be afraid to smile! 



BRISTOL-MYERS CO., Dept. Y-92 
73 West Street, New York, N.Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover partly 
the cost of packing and mailing. 



Name 



Street. 



City. 



.State. 



TOOTH PASTE 



A GOOD TOOTH PASTE, LIKE A GOOD DENTIST, IS NEVER A LUXURY 

The New Movie Magazine, September, 1932 3 



I 




AL SMITH 

Says : 

"America Needs 
to Laugh! 



// 



His own message to the Movies. 

In next month's — October — New 
Movie Magazine. Don't miss what 
he has to say about the films and 
censorship — and a lot of never- 
before - published stories about 
himself — in one of the most re- 
markable and timely interviews 
ever granted by "The Happy 
Warrior" — expressly for the New 
Movie Magazine. 



Wide World 



The New Movie 

One of the TOWER MAGAZINES 



VOL. VI. No. 3 



HUGH WEIR, Editorial Director 
Cover Design by 

McClelland Barclay 



VERNE PORTER, Executive Editor 



SEPTEMBER, 1932 



FEATURES 

Will Hays' Ten Years in the Movies Will Irwin 20 

Alias the Monster Jim Tully 24 

Edgar Wallace's Hollywood Diary 28 

Sea Dwellers 3 | 

Cheer Up! 35 

Frocks — Blondes Preferred 36 

Nothing But Love Wallace Irwin 40 

Clark Gable's First Sweetheart Susan Warner 44 

The Barrymore Mystery Ivan St. Johns 50 

It's a Great Life John J. Rodgers 59 

DEPARTMENTS 

Hollywood Bandwagon 6 

Cook-Cooing the Movies Ted Cook 47 

Our Hollywood Kindergarten 48 

Putting Hollywood on the Spot Herb Howe 52 

News and Pictures of Forthcoming Films 54 

Radio Rambles 61 

You Must Come Over, 63; Smart New Accessories for the School Wardrobe, 64; Let's Try 

Suki-Yaki, 65; Music of the Sound Screen, 66; A Modern Bathroom for a Colonial House. 70; 

Sori Maritza Gives Her Make-Up Secrets. 69; Box-Office Critics, 98; The Make-Up Box, 94. 

IVAN ST. JOHNS— Western Editor 
4 



v Largest Circulation of Any 
Screen Magazine in the World 

On Sale the 1 5th of Each Month 
in Woolworth Stores 



Published Monthly by 

TOWER MAGAZINES, Inc., 

Washington and South Aves., 
Dunellen, N. J. 



Executive and Editorial Office*: 
55 Fifth Avenue, New York, N. Y. 

Home Office: 
22 No. Franklin St., Wilkes-Barre. Pa. 



OFFICERS 
Catherine McXelis, President 
Theodore Alexander, Treasurer 
Marie L. Featherstone, Secretary 

ADVERTISING OFFICES 

55 Fifth Avenue. New York, N. Y. 
ill 9 N. Michigan Ave., Chicago, 111. 
7H04 Hollywood Blvd., Hollywood. Cal. 

Copyright, 1932 (Reg. U. S. Pat. Off.), by Toner 
Magazines. Inc., in the United States and Canada. 
Subscription price in the U. S. A., $1.20 a year. 
Hie a copy; in Canada. $1.S0 a year, 15c a copy; 
in foreign countries, $2.00 a year, 20c a copy. 
Entered at the Post Office at Dunellen, N. J., as 
second-class matter under the Act of March 3, 
1S79. Printed in U. S. A. Nothing that appears 
in The NEW MOVIE Magazine may be reprinted, 
either wholly or in part, without permission. 
Tower Magazines. Inc., assumes no responsibility 
for the return of unsolicited manuscripts, and 
they will not be returned unless accompanied by 
stamped, self-addressed envelopes. Owners sub- 
mitting unsolicited manuscripts assume all risk of 
their lo*s or damage. 

Member of the Audit Bureau of Circulations 



TEEN5 - TWENTIES - THIRTIES - FDRTIE5 

]7a>r -if -nearest 









mtr 



18" 



I m 

VIRGINIA LEE 





"I'm 20" 



JEAN HARLOW 



"I'm 27 




I'm 

ETHEL CLAYTON 




? 



''Beauty is 
not a matter 
of Birthdays" 

Screen Stars declare — and 
these pictures prove it 

Which one of these lovely favor- 
ites is near your age? Do you, 
too, know that beauty is not at 
all a matter of birthdays? "We 
must keep youthful charm 
right through the years," the 
stage and screen stars say — "in 
spite of birthdays!" 

Looking at these recent photo- 
graphs you want to know their 
secret ! "To keep youthful charm 
you must guard complexion 
beauty very carefully," they de- 
clare. "Youthful skin is abso- 
lutely necessary." 

How do these stars stay so rav- 
ishingly young looking? How do 
they guard complexion beauty? 
"We use Lux Toilet Soap," they 
say. "Regular care with this nice 
white soap does wonders for 
the skin!" 

g out of io screen stars use it 

Of the 694 important Hollywood 
actresses, including all stars, 686 
guard their complexions with Lux 
Toilet Soap. It is the official soap 
for dressing rooms in all the 
great film studios. 

Why don't you try this gentle, 
fragrant white soap — start using 
it today! 









34" 



I'm 

BEVERLY 




"V. 



'I'm 40" 

IRENE RICH 




Lux Toilet Soap 



\The New Movie Magazine, September, 1932 



La Colbert moves into Lilyan's dressing-room .... Four Comedians put in Hollywood's 
saddest evening .... How Constance Bennett was saved when her bank failed .... 




ttographed exclusively for Netc Movie Magazine 

Above: Dolores Del Rio, relaxing at her Malibu Beach home, after finishing the best 
performance of her career in "The Bird of Paradise." Being Latin, she is a sun lover. 



(Continued from page 6) 

LIFE'S LIKE THIS: The Queen is 
dead. Long live the Queen. You 
know the sentiment. Over on the Para- 
mount lot, Lilyan Tashman's former 
green and white dressing-room has been 
given to Claudette Colbert. La Colbert 
is now a resident Paramount star. 
La Tashman is an ex. Wherein lies a 
story. When Paramount offered blonde 
Lil a contract last year, the well- 
dressed one was a freelance actress 



Below: Bill Daly and Lilian Bond 
snapped, at leisure, at the Uni- 
versal studios. 





Photographed exclusively for New Movie Magazine 

who worked steadily and received a 
weekly salary of $1,750 a picture. Para- 
mount offered her no such money. In- 
stead, they offered her a mere $750 a 
week and the alluring intimation that 
perhaps they'd build her to stardom. 
Lil weighed the salary cut against the 
chance of stardom. She decided to 
gamble on the deal. She has a poof- 
poof, so-what, Cameo Kirby trait that 

"Here's how!" with water, too! Gloria 

Stuart drinks to your health at Universal. 

(At left.) 

Photographed exclusively for New Movie Magazine 



way. Lil signed the contract. She 
lost. They didn't build her to stardom. 
They didn't even renew her contract 
this year. Now, Lil is back with the 
freelancers. She's philosophical about 
it, and why not? She works steadily 
and at a much larger salary than Para- 
mount paid her. Some day, she may 
again have that green and white dress- 
ing-room that Claudette Colbert now 
occupies. For — the Queen is dead. 
Long live the Queen. . . . 

You must believe us when we 
tell you the saddest evening ever 
spent in Hollywood occurred when 
Arthur Caesar, his brother, Irving, 
Al Jolson and Groucho Marx got 
together. 

Four comedians without a 
"straight" man! At 3 o'clock in 
the morning no one had got to the 
point of the first joke because no 
one would give the cue. 

No wonder Marx wants carved 
upon his gravestone: 

"Bury me beside a straight man." 




Photographed exclusively for Neio Movie Magazine 

Above: Frank Albertson and Louise Fa- 

zenda — showing the candid cameraman 

what they look like quitting work. 

/^LEVER CONNIE: Constance Ben- 
^ nett uses her attractive head for 
business as well as histrionic purposes. 
Connie booked her dollars in the Bev- 
erly Hills bank that recently went 
ka-flooie. The day before the disaster, 
Connie had deposited her weekly RKO 
salary, a check for several thousand 
dollars. Early the following afternoon, 
she learned the bank had closed its 
doors. Hastily, the quick-thinking 
Connie sped to the telephone, called 
the cashier at RKO, instructed him to 
stop payment on her last check. He 
did. The bank tried in vain to collect. 
Connie was elated. "I outsmarted 
them," said Richard Bennett's daugh- 
ter. "They should accept defeat gra- ' 
ciously." They just accepted defeat. 
(Please turn to page 10) 



The New Movie Magazine, September, 1932 



A New and Amazing Development 

inTalking Pictures! 





For the first time you hear 

the hidden, unspoken 

thoughts of people! 



^^ 



O" 









KB. '. Mi'iC 



Something new in talking pictures! And of 
course, it comes from the magic studios 
of Metro-Goldwyn-Mayer, producers of 
"Grand Hotel" and so many other important 
screen entertainments! This Pulitzer prize win- 
ning play by Eugene O'Neill has been called the 
greatest romantic drama of our times. It ran a 
year and a half on Broadway. On the talking 
screen you will find it an unforgettable 
experience. Directed by ROBERT Z. LEONARD. 



IN EUGENE O'NEILLS GREAT DRAMA. 

STRANGE 

INTERLUDE 



Eugene O'Neill 

America's greatest 
playwright, reaches 
the height of his 
glory in this mas- 
terpiece. 



ether again! They 
thrilled the ivorld in "A 
Free Soul." And now 
'Norma Shearer and Clark 
Qable enact their most 
powerful love drama! 



with 
ALEXANDER K1RKLAND 

ROBERT YOUNG 
MAUREEN O' SULLIVAN 
• HENRY B. WALTHALL 



RALPH MORGAN 
MAY ROBSON 

TAD ALEXANDER 
• MARY ALDEN • 




Douglas Shearer 

Chief Sound En- 
gineer of M'G-M, 
whose amazing in- 
vention makes this 
picture "different." 




1 The New Movie Magazine, September, 1932 



Mr. Nixon" and "Mr. Eilers" .... Von Sternberg and his 
bodyguards .... John Barrymore comments on Sister 
Ethel .... Jill and Laurence bury their beloved .... 






(Continued from page 8) 

\\ In ii Moot Gibson and Sally 

Eilers had tluir little tiff a few 
months ago it « as to the home 
of Edward Hfllman and .Marion 
Nixon that Moot went. 

Now, Hoot is calling Eddie "Mr. 
Nixon." and Eddie is calling Moot 
"Mr. Eilers," and both are getting 
sore at a jest neither will stop. 

SAFETY FIRST: Josef (director) 
Yon Sternberg, who is destined to 
go down in film history as Marlene 
Dietrich's discoverer, has no wish to 
discover a potential movie star anions 
a gang of house-breakers. Joe has 
turned his house into something of an 
arsenal, thereby assuring safety to 
himself, to his library of valuable books, 
and to his art collection of pictures, 
etchings, and sculpture. Joe has re- 
placed the wooden doors to the front 
and rear entrance of his house with 
steel doors. The door to his bedroom is 
also steel. Two armed men, working in 
six-hour shifts, do sentinel duty on the 



"Don't worry. When the time 
comes she'll be right there — in 
front of us!" 



WHY, CHARLIE: When Charlie 
Chaplin met the Prince of Wales 
— so writes our London correspondent — 
Charlie actually asked H.R.H. who made 
his clothes! And did London gasp at 
Charlie's democratic manners? To put 
it mildly, London did. 



Neil Hamilton sags there is but 
inic woman in the world who can 
fold a handkerchief to fit in a 
man's dinner suit pocket so that it. 
will not bidgc. That girl is Joan 
Craivford. 



QUACKING BIG MOAN: Clear-eyed 
Jill Esmond and cheery Laurence 
Olivier (Mr. and Mrs. behind the silver 
screen) selected their Hollywood home 





Vholi, hn RuSSCll Ball 



Paul Whiteman, King of Jazz, sans one 

hundred pounds or so, back in Hollywood 

for a visit. 



with an eye to beauty. Being English, 
they would, of course. They live atop 
Lookout Mountain and their rambling 
house overlooks the valley that is 
Hollywood and Los Angeles. Far to 
the West stretches some seventy miles 
of Pacific coastline. To either side of 
their veranda is their colorful garden. 
There is also a pond. In this pond 
once paddled Belinda the duck. Jill 
and Larry were very fond of Belinda 
and her quacking, strutting ways. A 
neighboring cat, however, took murder- 
ous dislike to the feathery one. So 
deep was the cat's hatred that one day 
it put Belinda on the spot. Now, Be- 
linda is no more. She lies in a plct 
prepared for her by Jill and Larry 
near her beloved pool. Into this, she 
was sadly lowered by her owners while 
a Victrola played the solemn, majestic 
(Please turn to page 12) 



PJlOtO bll 11 idl World 

Charles Farrell and Janet Gaynor visit- 
ing Hollywood's Assistance League res- 
taurant, all of the proceeds from which 
go to charity. Janet is holding one of 
the favors. 



At right: Jeanette MacDonald tussling 
with her sheep dog on her lawn. 



first floor of the house while a third 
sits at Von Sternberg's bedside while 
he slumbers. No, silly, the big strong 
man doesn't hold Joe's hand. He holds 
a gun. 

"I am a little bit frightened at 
the prospect of working in front 
of a camera," said Ethel Barry- 
more, when she arrived in Holly- 
wood to make a picture with her 
two brothers, John and Lionel. 

"Frightened!" retorted John. 



10 




B 

by Wide World 



^r^wMtal^J '^£5^ 



^F&m- 



The New Movie Magazine, September, 1932 



IS JUDY USING 
A REDDER UP,, 
ROUGE LATELY?:" 




HER TEETH 
ARE WHITER 
THAT'S ALL" 



"Though it costs 

only half as much 

I like it 

twice as well 



v_>OLGATE'S costs me half what some 
people pay for toothpaste. And I'm saving 
these quarters because of something my 
dentist told me. 'Judy,' said he, 'toothpaste 
can clean — nothing else. Now the best one 
1 know of is Colgate's. Those people have 
studied how to clean teeth for thirty years. 
Not how to cure — that's my job — but how 
to clean teeth thoroughly and honestly. So 
my advice to you is not to pay out money 
for fancy-sounding claims — because Col- 
gate's does all that any toothpaste can do.' 
That seemed sensible to me. So— frankly, 
if Colgate's cost twice as much, I'd still like 
it. But since it costs only a quarter — I like 
it twice as well." 






CCEPTED 



MERICAN 
TjENTAL 



This seal signifies that the composition 
of the product has been submitted to 
the Council and that the claims have 
been found acceptable to the Council. 



I Assoc 
■'/Xtio! 

nrl— 




! 




Also in handy 
10<j: size 



The New Movie Magazine, September, 1932 



11 





Photopi aphi d i <■■ i 



Above: Jean Hersholt, between scenes, 
just whittling his time away. 




Photographed exclusively for Xcic Movie Magazine 

Above: Mae Marsh seeks the shade of a 
reflector between scenes at the Fox studios. 




Al Jolson and his wife, Ruby Keeler, both 

formerly of the stage, now in Hollywood 

malting pictures, photographed buying 

tickets for a neighborhood movie. 



12 



Margaret Livingston announces she's giving up pictures . 

. . . Andy Devine and flowers for a girl .... Constance 

Bennett changes her hairdres .... 




Elissa Landi p while acting in "A Passport to Hell 
amusing herself with the pickaninnies used i 



spent most of her spare time 
the picture as atmosphere. 



(Continued from page 10) 
strains of Chopin's Funeral March. 
Belinda is the first Hollywood casualty 
of those rising young players, Jill Es- 
mond and Laurence Oliver. 

Margaret Livingston has an- 
nounced her intention of giving up 
pictures. "One artist in the fam- 
ily is enough," she explained. 

"Now that your husband is so 
slim and handsome, you'd better 
watch him or some girl will take 
him away from you," warned a 
friend. 

"Well, I'm staying in New 
York," Margaret replied. "If I 
lose him, it won't be because I'm 
in Hollywood, three thousand miles 
away." 

Margaret was explaining to a 
friend just how Paul lost a hun- 
dred or so pounds of excess avoir- 
dupois. 

"And the last fifteen pounds," 
Margaret said, "he lost taking 
bows in front of the mirror." 

A TTENTION, MR. TARKINGTON: 

■^* Andy Devine is the tall, awkward, 
husky-voiced lad who is always having 
one fool of a time being understood 
by his cinematic girl friends. Ap- 
parently, the tousle-headed Andy is 
just as perplexed by the female of the 
species in real life. There was one 
girl he had a terrific crush on. He 
didn't know how to say it in action. 
A kindly friend suggested he send her 
flowers on holidays. Andy took a holi- 
day at random. A few days later, he 
met the friend. 

"Say," moaned Andy the Devine, 
"that was a swell tip you gave me. I 
sent her flowers, all right, but what 
a holiday. It was Mother's Day and 
boy, am I poison around that dame!" 

Constance Bennett announced 
that she will change her hairdress 
soon. For her Warner Brothers 
picture, "Two Against the World," 




she wore bangs. "But I met my- 
self coming and going," she com- 
plained. "Every extra girl on the 
lot decided to wear bangs." 



MA L I B U 
S I G HTS: 

Greta Nissen 
dancing into the 
crashing surf 
sporting a big sun 
hat! . . . Lilyan 
Tashman and Ed- 
die Lowe taking 
their afternoon 
survey of the 
beach. . . . The 
Jack Warners en- 
tertaining and 
turning on the 
many spotlights 
that crowd the 
roof of their 
huge, gray house. 
. . . Adela Rogers 
St. Johns (our 
own Adela) steal- 
ing a march on 
the Malibu-ers by 

taking an early morning dip before 
breakfast. . . . Jack Gilbert jealously 
hovering around trim, pajama-suited 
Virginia Bruce (his fiance, as we go 
to press) . . . 

Arthur Caesar says that in 
browsing through an old book, 
written for mariners, he came 
across this passage: 

"MALIBU BEACH, from the 
three-mile Until, a collection of 
huts. Unimportant community. 
Neither provisions nor fresh water 
to be had." 

I^DNA WAS RIGHT: Now every- 
- L/ _body understands. Why Edna Best, 
petite English stage and screen star, 
fled Hollywood and her leading role op- 
posite Jack Gilbert without so much as 
good-bye. And gave as her reason that 
(Please turn to page 14) 



This is the latest 
picture of Mrs. 
Rod La Roque, 
whom you used to 
know as Vilma 
Banky, in her role 
of wife. 



The Nexv Movie Magazine, September, 1932 




owerf ul ! 




■with. 



IRENE DUNNE 

LEADING WOMAN OF 
"CIMARRON" 



■with. 



JOHN BOLES 

LEADING MAN OF "SEED" 



Directed by JOHN STAHL 
WHO MADE "STRICTLY 
DISHONORABLE" AND 
"SEED".... 

Written by 

FANNIE HURST 



IMMORTALIZED ON THE SCREEN 

with a great supporting cast, including: 
Zasu Pitts, June Clyde, George Meeker, 
Doris Lloyd, William Bakewell, James 
Donlan, Paul Weigal and Walter Catlett. 



Vnlv€7tAaL ^PicMxvteA 



UNIVERSAL CITY, 



Carl Laemmle 
President 



730 FIFTH AVENUE, NEW y O R K 



The New Movie Magazine, September, 1932 



13 



And now Edna Best's husband is the Success .... After she gave up Stardom rather 
than be away from him .... Jack Mulhall as a busy barber .... 



(Continued from page 12) 

• i rather be with her husband, Her- 
n-shall (also an English Stage 
and screen star) than career-ing away 
from him. Yes, Hollywood understands. 
For Herbert .Marshall is here, emoting 
with Miriam Hopkins in "Souk of 
Songs." And the colony has seen him 
for itself. Unanimous opinion: Edna 
was right for chucking her contract and 
returning to him. Reason: Marshall is 
a graceful, handsome, effete young 
man with that "certain something" that 
gets the blue singers shouting hallelujah. 

Walter Byron and Jack Mul- 
hall ice re in the Hollywood Athletic 
Club barber shop when Byron 
dozed off while having a shave. 
Suddenly he became aware of very 
hot towels being put on his face. 
The heat was unbearable but he 
stood it bravely until the barber 
began kneading his cheeks as 
though they were dough. Looking 
up angrily, Byron discovered Mul- 
hall in the barber's apron. 




Photographed exclusively tor Tfeto Movie Magoz 



Ruth Selwyn studying her lines and eating 
an ice cream cone, caught unawares by 
the cameraman at the M-G-M studio. 



UPHILL FIGHT: Everybody likes a 
fighter. Harry Langdon, for in- 
stance, that whimsical little comedian 
with the big round eyes and skippity 
gait. Harry will soon be seen with Al 
Jolson in "The New Yorker." It's his 
first picture from Hollywood in many 
a day. 

The town wasn't especially kind to 
Harry. When he rose to be a star and 
to produce his own comedies, it be- 
came whispered about that he was get- 
ting high hat and impossible. A former 
writer-director, whom Harry had ele- 
vated from nothing to something, 
clinched the rumor of the star's snooty 
ways. The writer-director had had a 
disagreement with Langdon over a 
story. He thought one thing. Harry, 
the other. The writer-director quit in 
a huff. He did more. He wrote letters 
to the newspaper movie writers saying 
how unreasonable Langdon had become 
since he reached producer-star heights. 
Those letters undid the star. 

He hid from people and their in- 
(Please turn to page 16) 




Photographed exclusively for New Movie Magazine 




You've always wanted to know about Will 
Rogers' family, haven't you? Well, here 
they are, above. And from left to right, 
with part of the Flo Ziegfeld family: Mary 
Rogers, Patricia Ziegfeld, Jimmy Rogers, 
Mrs. Will Rogers and Mrs. Flo Ziegfeld 
(Billie Burke). And aren't they just the 
sort of home folks you'd expect? 



At left: Jimmie Durante, known to Holly- 
wood as "Schnozzle," and Wallace Ford, 
being greeted at the M-G-M studio by 
Ralph Spence, the humorist. Mr. Durante 
— believe it or not — is one of our newest, 
full-fledged movie stars. 



At right: Marian Nixon and her director, 
Alfred Santell, photographed by the can- 
did cameraman as they were leaving the 
Fox lot together. Marian is hitting hard 
with the public. A veteran of silent pic- 
tures, she is even more popular in the talkies. 




photograph by Associated Press 



14 



notograiihi.il exclusively for Xew Movie Magazine 



The New Movie Magazine, September, 1932 



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FOR SOLVING THIS MYSTERY! 



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detective in this 
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lune in on this absorbing 
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WRITE YOUR OWN ENDING 

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HEAR IT ON THE AIR! 
SEE IT ON THE SCREEN! 

CONTEST JUDGES 

O. O. Mclntyre, Albert Payson Ter- 

hune, /Montague Glass, Peter B. Kyne, 

James Quirk, Julia Peterkin 



The New Movie Magazine, September, 1932 



RKO-Radio Picture featuring 

RICARDO CORTEZ 
KAREN MORLEY 
ANITA LOUISE 
ERIC LINDEN 



fcoio PICTURES' 
^QADCAsr SPECIAL 



GET INTO THE DETEC- 
TIVE GAME!.. IT'S FUN! 

Be sure to obtain pamphlet containing 
contest rules, prize list and complete list 
of stations broadcasting this story from 
your local theatre, or from any office 
of the RKO Distributing Corporation. 



15 



Cheers for Harry Langdon and a big comeback .... Lilyan 

Tashman's name for hubby .... Stars and their mothers 

.... Especially Arline Judge and Eric Linden 




Am 

Photo by Associated Press 

This is one of the pictures globe-trotting 
Charlie Chaplin brought home with him 
to prove he was in Japan. Brother Syd 
looks on while Charlie does his stuff for 
the amusement of his Japanese admirers. 

(Continued from page 14) 
quisitive cruelty. This hiding proved 
he was high-hat. It completely licked 
Harry. His confidence in himself and 
in people was gone. He was crushed, 
too hurt, too defeated to muster the 
energy to combat the situation. Pathet- 
ically, he tried to hold his own in a 
few Hal Roach two-reelers. Finally, he 
gave up the struggle and came East 
where he tried to make a living in the 
sadly passe profession of vaudeville. 
To add to the hilarity, his matrimonial 
mishaps hounded him. Others have quit 
under such financial and emotional 
strain. Harry wouldn't and didn't. 

He's back in Hollywood, making what 
may be a come-back. We hope he 
makes it. We want to give him a hand. 
We like a fighter, especially if he's 
a swell comedian. It's nice to be helped 
to a laugh — these days. 

Lilyan T ashman, she of the 
startling raiment, who recently re- 
turned from Europe with seven- 
teen trunkloads of gowns and 
what-nots, has an endearing name 
for Eddie that you'd never suspect. 
Eddie, you know, is noted for his 
hard-boiled realism when playing 
tough characters . . . but at home 
he is known as "Baby." 

WHY WORRY over the younger 
generation and their "race" to 
"perdition?" From now on we're go- 
ing to rock on our own front porch and 
write odes to this same younger gen- 
eration. Arline Judge and Eric Lin- 
den, for example, age twenty and 
twenty-four respectively. What d'you 
suppose they have done, now that they 
are established players headed for star- 
dom ? Arline brought her mother from 
New York to a specially decorated 
apartment (it cost Arline $4,000) in 
Beverly Hills. She arranged her moth- 
er's trip so her mother arrived on the 




Phutuiiiniihiil exclusively for .Vno Movii Magazine 
ly Wide World 

John Boles, photographed exclusively for 

New Movie Magazine, on the sands in 

front of his Malibu Beach home. 

Coast on her birthday — an okeh way 
to arrive. After her mother had ah-ed 
and oh-ed over the grand apartment, in 
came a slew of folk and there was a 
birthday celebration. 

Eric Linden celebrated his success 
by bringing his mother from the East 
to a chummy home at Malibu, and here 
Mrs. Linden is learning that life can 
be very sweet. Both she and her son 
remember the hard struggle of the last 
twenty years. In his youth she was 
force to become the bread-winner for 
her six children. And she did a faith- 
ful job — for all of them were given a 
wholesome home atmosphere. Eric's 
success ends his mother's hardships and 
he's keeping her with him to be sure 
this is true. 

Worry about the younger genera- 
tion ? Not for fun, money, or marbles. 
Interestingly enough, both Arline and 
Eric date their screen rise from the 
picture, "Are These Our Children?" 




Photograph by Wide World 

Above: Alice White, baclt in Hollywood 

for a film comeback, after an eight 

months' vaudeville tour, presents her 

fiance, Sydney Bartlett. 




Robert W. Coburn 

Ann Harding poses for us as she is leav- 
ing her hilltop home for the studio — as 
charming and lovely as ever. 



16 



The New Movie Magazine, September, 1932 




Photographed exclusively for New Movie Magazine 

And here's a corking exclusive picture of Joan Bennett lunching with her friend, 
Sallv Eilers. in the Fox Studio restaurant. 



Baby Peggy is coming back to films .... Rosco Ates stutters at President Hoover 
Richard Dix and his bride vacation bound at last .... 

When Bing Crosby passed 
through Boston recently he found 
a contest in progress to find the 
best imitator of the crooner. Since 
numbers, not names ivere being 
used to identify the contestants, 
Bing took part. When the returns 
came in, it was discovered that he 
hadn't even placed. 

T ITTLE GIRL GROWN UP: Baby 
*~ J Peggy is coming back into pictures. 
Remember her — the black-haired, 
brown-eyed elf who used to romp 
through two-reel comedies for Univer- 
sal ten years ago ? Remember when 
she started to grow from a lovable 
roly-poly into the gawky, spindle-leg 
age ? It was at that time that her 
manager-father, Jack Montgomery, 
formerly a Yellowstone National Park 
ranger, took Baby Peggy and the rest 
of the family (his wife and little 
daughter Louise) to a dude ranch in 
Larimee, Wyoming, and there Peggy 
has grown to the ripe age of fourteen 
years. She is back in Hollywood, now, 
ready to take pot-luck with other screen 
aspirants. Maybe she'll meet with 
good luck. Other child stars — Madge 
Evans, Jackie Coogan, Lina Basquette, 
Ben Alexander — have grown up and 
managed to become important in films 
again. Anyway, Peggy paid a special 
visit to Douglas Fairbanks to tell him 
that the school she attended in Laramie 
was the same school he used in his 
picture, "The Man From Painted Post," 
made in 1916. Doug seemed flattered to 
learn the Laramie-ites still remembered 
and talked about him. No, we don't 
know if he'll make another picture in 
that town and have ex-Baby Peggy in. 

*TpOO LATE! TOO LATE: When Ros- 
A coe Ates joined the parade of half 
a hundred or more who line up every 
day at noon to meet the President and 
shake hands with him, he went into his 
act and stuttered so naturally that he 
finally managed to finish his last line 
as he passed out of the door, fifty feet 
and thirty handshakes beyond the 
President. 
"T-The darned old police keep that 



Above: Anita Loos, diminutive author of "Gentlemen Prefer Blondes" and other 

hilarious tales, and Jean Harlow declaring war on blondes during the filming of 

Jean's "Red-Headed Woman" — while Chester Morris looks tremulously on. Miss 

Loos wrote the dialogue for the picture. 



I 





Joel McCrea and Fay Wray, posing for 
the New Movie photographer on the set 
of "The Most Dangerous Game," at RKO. 



line moving so fast, and I was so con- 
fused trying to remember when I saw 
the President's hand come toward me, 
to say 'Good morning' and 'Good-bye', 
that when I actually arrived at Hoover 
and saw his paw extended — I went into 
my act, stuttered and blew up in my 
lines I'd been practicin' all the way 
to him! Darn it!" says Roscoe. 

IT TAKES A WOMAN: It takes a 
woman every time to make a man 
take advantage of opportunity! 

Richard Dix has been entitled to a 
six weeks' vacation ever since he signed 
his first contract with RKO Radio, but 
Dix has never taken advantage of this 
privilege until now. 

He and his pretty wife started East 
to sail for Europe. "And we'll not 
waste a single blessed day of the time 
we're allowed, but fill it to the brim 



The New Movie Magazine, September, 19S2 



with seeing and doing things entirely 
foreign to pictures," said Dix. 

1Z"NITTING CONNIE: Constance 
■*■*- Bennett is driving her director and 
co-workers knitting crazy. "She sits and 
knits and knits. She studies her 
lines, knitting. She rehearses, knitting. 
She talks over gags and situations and 
their treatment, knitting! She knits 
and knits and knits until she's making 
a knit-wit out of me." Thus rages the 
good-natured Archie Mayo, directing 
Connie in "Two Against the World." 

It doesn't pay to believe all you 
hear and see about those big, 
strong, silent men of the movies. 
Dropping in on the O'Brien beach 
domicile ive were shocked to dis- 
cover George, the shirtless wonder, 
(Please turn to page 72) 



17 




DOWI1 but nOT OUT! 




M B Wb |H|ln 



DOUin TO EARTH 

DOROTHY JORDAN and IRENE RICH 

A FOX Picture Dr ret ted by DAVfD BUTLER 



18 



The Neiv Movie Magazine, September, 1932 



Pht'u hn. riinrnn Smi-lait llnl. 




Queen Marie — Dressier, of course — lovable, humorous, a great actress, one 

of the surest-fire box office attractions of our day. Her last picture was 

"Prosperity," with Polly Moran. And here's hoping for many more of the same 

— now that she has recovered her health and bought a mansion. 



The New Movie Magazine, September, 1932 



19 



BEGINNING the most important series of articles 

WILL HAYS' Ten 



MR. HAYS' FOREWORD 

T7KEQUENTLY I have remarked that no story ever 
written for the screen is so dramatic as the story 
of the screen itself. Not the least interesting phase 
of its history, it seems to me, began with the vol- 
untary association, in 1922, of nine producing and 
distributing companies, for the purpose of 

"Establishing and maintaining the highest possible 
moral and artistic standards in motion picture pro- 
il a cti on ; and 

"Developing the educational as well as the enter- 
tainment value and the general usefulness of the mo- 
tion picture." 

That association, known as the Motion Picture Pro- 
ducers and Distributors of America, Inc., has, in 
ten years, come to include twenty-six members. 

I was very happy, indeed, when it was suggested 
that Will Irwin, famous author and war corre- 
spondent, tell the story of this ten years of co- 
operation in the pages of "New Movie Magazine." 
In his preparation of this series of articles, we have 
been glad to place at Mr. Irwin's disposal the com- 
plete records of the Association. 

In pursuing its fundamental purpose of providing 
essential entertainment for its millions of patrons, 
the screen can never remain static. Always it must 
progress, and as a result of that progress there con- 
stantly arise serious and difficult problems. It would 
be my hope that Mr. Irwin's series of articles will 
cause a more complete understanding of some of 
these problems. 





The first authentic inside story of what has gone on behind the scenes 

since the gentleman from Indiana has guided Filmdom's Destinies 



WILL HAYS, fresh from the Cabinet at Wash- 
ington, settled down in New York in March, 
1922, to learn a new business. When he took 
the job of shaping up the motion-picture in- 
dustry to fit in with modern conditions, he had per- 
haps rather less knowledge of its customs, its technique 
and its problems than the average fan who i*eads these 
lines. He had to pick up his education as he went 
along; for the events of the next few months proved 
that he had inherited a crisis. 

Literature and the drama had shaken off the Vic- 
torian tradition of prudery. Writers and dramatic 
managers were loose in the loco weed, dealing with 
such themes, employing such language, as the English- 
speaking world had never heard or read since the days 
of Merry King Charles. 



The motion picture was following this tendency; and 
among the producers were those who ignored the 
special character of their public. They forgot that 
children and adolescents were important in their 
audiences, and that Main Street, to which the motion 
picture had become the standard staple form of enter- 
tainment, stood -appalled at scenes and situations which 
Broadway took as a matter of course. 

Also, the less skillful of them did not realize that a 
mildly risque passage in a novel may become shock- 
ingly improper, even to the liberal-minded, when flashed 
on the screen. 

The "Hollywood Legend", which the inhabitants of 
the motion-picture capital regarded with mild amuse- 
ment, had suddenly . become a real danger. All the 
forces of sensational journalism, conspicuously the 



20 



The New Movie Magazine, September, 1932 



ever published in a motion picture magazine 

Years in the Movies 




Exclusive photo by To\ceT Studios 

newly born tabloids, were working to create in the 
public mind a picture of Hollywood as a hole of fas- 
cinating, awful vice. 

Unconsciously, the Hollywood press agents, Broad- 
way trained, were helping this movement along. 

Whenever a couple in "high society" decide to get 
a divorce, they slam their doors on reporters and run 
away from cameras. But when 
motion-picture stars decided to part, 
their publicity agents usually dis- 
played all the family dirty linen to 
the pop-eyed press. It got space, 
didn't it? Well, then . . . ! 



Written by one of America's most distinguished authors — 

WILL IRWIN 

(At left) 

Will Hays and Will Irwin, photographed 
for New Movie Magazine in Mr. Hays' 
private office in New York, during the 
preparation of this series of articles. 

woman — the extremely unpleasant Arbuckle case. 

That happened in the early autumn of 1921. 
Had it been a one-day story the effect would have 
worn away by 1922, when Hays took command. 
But Arbuckle went on trial; and all through the 
year the preliminaries, the aftermath and the actual 
testimony made the front page day after day. 

One can say now without fear of lynching at 
the hands of the ulta-righteous that this tragedy 
was only an accident of a very coarse debauch. 
But the question of Arbuckle's guilt or innocence 
stood secondary to the squalidly unpleasant details 
of that party, which lost nothing in the telling 
of expert reporters. 

This, said the critics of the motion picture, was 
Hollywood — just a cross section. Politicians, look- 
ing for an issue, began to capitalize the public 
fury. The Prohibition Amendment had passed 
into the Constitution only two years before; our 
legislators still clung to the old-fashioned American 
belief that the way to halt any evil is to pass a 
law against it. 

Apparently, when state legislatures assembled in 
the autumn, it was going to rain censorships. In- 
deed, certain women's clubs, church societies and 
reform organizations were looking beyond the state 
legislatures, talking about restrictive Federal laws. 

WITHIN a week Will Hays perceived that his 
first job was to set the public right with the 
movies, and the movies right with the public. 

Other problems, such as eliminating the huge 
waste of' the business, could wait ; this one was 
immediate. 

Fundamentally, it was necessary to kill that 
Hollywood legend — "the sink of gilded iniquity." 
Within a month, he was making his first visit to 
the capital of Movieland. That rich, flamboyant 
community awaited his coming with considerable ap- 
prehension. Rumors filled the soft airs of Southern 
California. He was going to reorganize the business. 
He was going to fire executives and stars wholesale. 
No one could be sure of his job. 

The spirits of Hollywood rebounded. Apparently, 
he wasn't going to do anything but just talk!. The 
rumors abated. 



TT takes only a dramatic episode, 
* against a background of irrita- 
tion to set Americans to crusading. 
The Boston Tea Party of this situa- 
tion — the John Brown Raid if you 
please — was the death of a young 



"I remember Father used to tell 
me about his first job, which was 
as a farmhand, plowing. After 
the landlord had showed him 
how and where to plow, he said, 
"And, John, while you are rest- 
ing at noon, you can pick up 
these stones." r '~^ t -» f/ 



HE gathei'ed the various elements 
into little, private assemblies, 
and described the peril of the motion 
picture, as he saw it. First the 
actors — the stars along with the 
rank and file. 

"Hollywood wasn't a thousandth 
part as wild as sensational news- 
papers were trying to make us be- 
lieve," he has said since, "nor a 
hundredth part so wild as some of 



The New Movie Magazine, September, 1932 



21 



(he publicity agents were trying to paint it. But still, 
this stuff had a germ of truth in it. There was a 
small element with loose morals and a way of flaunt- 
ing their offences in public. Until we'd changed that, 
We couldn't go ahead and say that Hollywood was as 
decent as any other town, without facing a just 
charge of insincerity." 

So he talked to the 
actors smoothly, pater- 
nally on their profes- 
sional responsibility. They 
were public characters, he 
said ; and eminence has 
its burdens. The average 
citizen demands conven- 
tional conduct of teachers, 
A teacher, earning per- 



"One cannot say, 'Go, 
boys' — one must say, 
'Come, boys.' " 

clergymen and statesmen, 
haps only a hundredth part of the salary of a motion- 
picture star, knows that he must avoid not only evil 
but the appearance of evil. 

Often, he inhibits himself from doing things which 
his conscience approves, just because the moral sen- 
timent of his community does not endorse them. 

And here they were, brothers and sisters, models 
and idols, to half our American families. The young 
people imitated their dress and manners, were prob- 
ably imitating their private morals. Perhaps, there- 
fore, the public had the right to demand reasonably 
conventional conduct. And there was just a hint 
that, while nothing dramatic was going to happen 
nt present, actors who misbehaved might expect, by 
the logic of circumstances, to lose their jobs. 

Except for the backing and inspiration it gave 
them, the majority needed no such lecture as this. 
They were hard-working family men and women, who 
were saving at least some of their swollen earnings 
against the rainy day when their vogues should 
pass. Hays was only saying what they had long 
thought. 

Now they got in and helped, actively. Wild dis- 
sipation ceased to win even tacit approval ; and with 




Photo by International 

Harry Chandler, of the Los Angeles "Times," swung into 

action. He gathered up reporters from every corner of the 

country, and took them to Hollywood "for to see and to 

admire" that better side of the town. 

more than one rather amusing indirect result. 
Hitherto, Hollywood, moral as well as immoral, 
had revelled in gossip. When first I visited the town, 
on the eve of the Hays control, old friends of blame- 
less life were laughing immoderately at the scandalous 
stories current about themselves. They didn't mind in 
the least; Hollywood said that sort of thing about 





Photo by Culver Service 



"Fatty" Arbuckle, at the time when his trial for murder set 
all America crusading; when politicians, looking for an issue, 
capitalized the public fury almost to Federal censorship. 



everyone, and nothing could be too bad to believe. 
When I returned a few years later, scandal was taboo. 
Rake up the Arbuckle case, the Taylor case or the later 
Reid case, and my interlocutor, no matter how inti- 
mately I knew him, blandly turned the subject. Holly- 
wood had grasped the point that scandal might mean 
unemployment. 

THE producers saw it too, and went further than 
Hays himself designed. Spontaneously, a number 
of them began to draw the famous "morality con- 
tracts" by which a public breach of good behavior 
gave the manager cause for breaking the contract. 

Sometimes they even shoved such documents into 
the grinning faces of eminent writers in process of 
being shipped from New York. 

Rumor said that the producers had a blacklist. This, 
veteran members of the Hays organization tell me, 
was not true. However, directors and owners did 
probably pass along to each (Please turn to page 96) 



"There must be in this country two political parties, and both must be strong and virile. To which party 
you belong is of less consequence than that you belong to some parry^that you seek for the truth, find 

it and then act, and act instantly." — *)_*% /_/^_ 



~^tHS7»T5Uw - ^ 



22 



The New Movie Magazine, September, 1932 



Ml 



Photo bv Will 




5 



1 



■ 



Evelyn Brent, Columbia player, though a star of the silent screen, has come 

into even increased popularity with the advent of the talkies. One of the 

most popular girls in Hollywood, she is often mentioned in Edgar Wallace's 

Hollywood Diary, concluding in this issue of New Movie Magazine. 



The New Movie Magazine, September, 1932 



23 



Alias the MONSTER 




H 



AVING gone through the greatest 
epic of struggle I have ever heard 
in Hollywood, Boris Karloff is a 
mellow and a sad man. 

The struggle has left him still baffled — 
like a blind man who, after many years, 
again sees the sun. After long drifting 
over the sad water, he is too tolerant to 
be bitter, and sees too clearly the futility 
of all things human to take himself too 
seriously. 

He has the appearance of a rajah. His 
eyes are dreamy, defeated, tragic, the eyes 
of a man who has suffered much. He is 
supposedly of English-Russian parentage. The Rus- 
sian blood is far back, hence the name Boris Karloff— 
taken from an ancestor. His real name is Pratt. 

He does not seem to be in tune with the materialistic 
world. I would hazard the guess that he may often 
find it hard to keep his dreamy and poetical nature 
in rhythm with modern life. 

Unfailingly polite, he is nevertheless aloof. There 
s a rose in his soul which the searing wind of Holly- 
wood has never touched. More than ten years in miser- 
able stock companies which toured Canada and the 
American Northwest might have made a semblance of 
an actor out of many a Hollywood leading man. It 



24 



\ I 



\\i:h- World (photo) 

"His eyes are dreamy, defeated, 

tragic, the eyes of a man who 

has suffered much." 



made Boris Karloff 
class performer. 

He first attracted national 
attention by his work as the 
monster in "Frankenstein." 
It was a story devised from 
an idea which had its origin 
in the brain of a woman of 
genius, now dead these more 
than eighty years. Even after 
the idea had seeped through 

other minds, it remained provocative and interesting 

through the work of Boris Karloff. 

EDUCATED at King's College, in London, England, 
Karloff first left that country in 1909. 

His brothers had all been in the consular service. 
They were aghast when he decided to follow an un- 
beaten path. 

He had read how men in North America were sup- 
posed to dress. Accordingly he arrived in Canada 
and presented himself to the farmer for whom he was 
to work. Looking as grotesque as Frankenstein in his 
large sombrero and spurs that had never been near a 

The Neiv Movie Magazine, September, 1932 



The story of Boris Karloff' s trag- 
ic struggle of two score years 
to find his place in the sun 



Photographs by Ray Jones 




horse, Karloff could not understand why the farmer 
laughed. 

After six weeks the two men were so happy to part 
company that neither waited to say good-bye. Karloff 
took his fifteen-dollar wage and wandered back to 
England in time to receive a small inheritance. 

He remained a week and. again returned to Canada. 
After a long journey from Montreal to Vancouver 
he had forty cents left. Loitering on the street, he 
met a man who had gone to college with his brother. 
This man gave him the usual advice on how to get 
ahead in the world. It helped Karloff so much that 
more than twenty years later he finally succeeded in 
Hollywood. 

In justice to the man, he was not a mere giver of 
advice. He introduced Karloff to an employment 
agent who gave him a job as a day laborer, at twenty- 
eight cents an hour, fourteen hours a day. For three 
months he chopped trees, (Please turn to page 99) 

"There is a rose in Karloff's soul that the searing wind 
of Hollywood has never touched." 




The New Movie Magazine, September, 1932 



25 




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26 



77«e 2Vew Movie Magazine, September, 193i 



// 



RAIN .... 

RAIN 

RAIN 



// 



On location at Catalina Island making 
W. Somerset Maugham's classsic play, in 
which Jeanne Eagels starred on the stage 
and Gloria Swanson in the silent films 




! 




m 




(At top) Walter Huston, who plays the 
missionary, and Mrs. Huston, showing 
also Walter Catlett, who takes the part 
- of the ship's steward. 



(Above) The general store set, in which 
much of the action takes place, showing 
the floodlights on the roof, and the lines 
of pipes extending outward, through 
which the rain effects are made. The 
strong lights are used so that the actors, 
standing on the porch, can be photo- 
graphed through the downpour from the 
pipes, giving the appearance of rain. 



Joan Crawford (left), who plays the 
role of Sadie Thompson. Here you see 
her out of costume, walking to location 
with friends. This is the way Joan 
dressed most of the time on the island. 




* 



ff 



Guy Kibbee, the brilliant character actor, 
who plays the part of the storekeeper. 



Photos made for A'eic Movie Magazine by Wide World 



The New Movie Magazine, September, 1932 



27 










I also met Joel McCrea." 



"Evelyn Brent thinks I 
should give a chance 
to Karen Morley who, 
she thinks, is a grand 
actress." 




"Genevieve Tobin . . . 

is pretty and can act, 

which is important." 





"I met Richard Dix and 

we had a long talk 

about directors." 

"They never call Greta 
Garbo anything but 
Garbo, and Norma 
Shearer anything but 
Shearer." 




Photo hv Itobert XV. Coturn 



Mr. Wallace using his dictaphone. He dictated virtually all of his 
material, either direct to his secretary, Bob, or else to the machine. 



"Fay Wray, a lovely 
girl, the wife of a 
Rhodes scholar, John 
Monk Saunders, was 
there." 



Concluding 

Edgar Wallaces 

HOLLYWOOD DIARY 

Herewith we publish what are said to be the last 
words that the Famous Playwright and Novelist wrote 

Editor's Note: Going to Hollywood under contract to write for RKO, Edgar Wallace, 
one of the most popular and prolific writers that ever lived, kept up a day-by-day 
account of his activities in the form of letters to his wife, in England. This is the 
third instalment of this remarkable document, and takes you virtually up to the day 
of his sudden death from pneumonia. In it you find one of the most intimate pictures 
of the real Hollywood ever written. 

Sunday, 17th, January, 1932. 

MICHAEL BEARY — (a friend from England) — threw a party 
last night — as a matter of fact, we threw it together. We 
had a dinner for twelve at the Embassy. Guy Bolton, Vir- 
ginia Bedford, Joan Carr, Sari Maritza, Vivian Gaye, blonde 
secretary and manager, Rochelle Hudson, Captain Roark, the polo 
player, a friend of Michael's, Mrs. Roark, Merian Cooper and Steve 
Donoghue were our guests. 

The Embassy is very much like the Embassy in London except that 
it has a marvelous band and is lit almost entirely by candles on the 
table. We had a really wonderful dinner, and as the staff seemed to 

The Neiv Movie Magazine, September, 1932 




"Lily Damita 

was at another 

table, and 

came over." 



>well Sherman 
most amusing 



devil." 



<\ 



28 



regard me as the host, and brought me all 
the dishes before they were served, it was 
my dinner more than Michael's. 

I like Sari. Merian Cooper is, of course, a 
joy. 

It was an off night and the celebrities 
were not there, but next Saturday is a club 
night and I am going to have Evelyn Brent 
and her husband, and Arline Judge, whose 
husband is Ruggles, the producer. (She 
was in "Are These Our Children?") 

Next week I hope to finish my Eighty 
Minutes story, which I am afraid will have 
to be in another form. I can't compress the 
story for the sake of the stunt. After that 
Cooper has got another horror picture which 
he wants me to deal with. The Eighty 
Minutes story I now call "The Man With- 
out a Face," and I am preparing it also for 
the — Magazine. I have then got to nr^e a 
story out of "Kong," and there is a possi- 
bility of my directing "The Man Without a 
Face." 




Edward G. Robinson, about whom Mr. 

Wallace spoke most highly, and Mrs. 

Robinson. 

They have not yet made any decision 
about the Connie Bennett story, which is a 
very good one and will be turned into a tale 
as soon as I can find time. 

I have quite a lot of work to do, appar- 
ently, and since Michael's been here I have 
been rather loafing. 

For my next Saturday's party I am also 
inviting Walter Huston and Nan. (Mrs. 
Huston.) 

You can get a party together very 
quickly and you have the most surprising re- 
sults when you invite people. Michael was 
introduced to a very pretty girl, Rochelle 
Hudson, at the studio on Friday. On Satur- 
day we telephoned to Perry Lieber, the 
publicity man, and asked him to get in touch 
with her and ask if she would come to our 
party. She was there. 

Today, being Sunday, the day of rest, I 
plan to do a bit of work. 

Monday, 18th, January, 1932. 

MICHAEL left last night. He was very 
sad and sent me a wire from the sta- 
tion. I did not go down to see him off. In 
his wire he commended to my care "Roshell," 
by whom he meant Rochelle Hudson. As he 
hadn't known her for twenty-four hours his 
tenderness is less touching than comic. He 
has promised to go straight to you and tell 
you all about everything. 




Ricordo Cortez 
stopped and intro- 
duced me to his part- 
ner, Genevieve Tobin." 




5*** <V 



"I also met Thelma 
Todd and others." 




' ' . . . Heather 

Thatcher, screaming 

with laughter at my 

surprise." 



"Young Jesse Lasky 
brought Joan Carr." 




"I am giving a din- 
ner to which I am in- 
viting Laurence Oli- 
vier (above) and his 
wife, who is Jill Es- 
mond" (shown below). 





"I had a frantic 

wire from Mary 

Pickford." 




This morning I 
went down to the 
studio and )met Lee 
Marcus, of the New 
York R.K.O. office. 
He is a terribly nice 
man — I think I have 
said that before. 

Lee Marcus wanted 
to see me because 
Basil Dean is open- 
ing his new studios 
at Ealing on February 
15th. And the Prince 
of Wales is perform- 
ing the opening cere- 
mony. He suggested that we should get to- 
gether all the R. K. 0. players and make 
them say a little piece — on a Talkie film. It 
is the little piece that I am writing. It is 
rather amusing to do. Richard Dix, Connie 
Bennett, Ann Harding, Dolores del Rio, 
Helen Twelvetrees and Laurence Olivier are 
amongst the twelve people who will welcome 
the Prince that evening. 

I wrote to Nan Sunderland (Mrs. 
Huston), and apparently my letter arrived 
at a very psychological moment, because she 
called me up and begged me to come to 
dinner tomorrow night, when she would tell 
me just what my letter had done for her. 
You know what I am with the wimmin! 

I am giving a dinner next Saturday at 
the Embassy to which I am inviting Lau- 
rence Olivier and his wife, Jill Esmond: 
Eva Moore, Walter Huston and Nan, and 
Evelyn Brent and her husband if they can 
come. I have an idea that they are giving 
a dinner at the same place. I shall have to 
pick up a few odd ones to make up the 
dozen, but it ought to be an amusing party. 




\4* & 



"In his wire Michael commended to my care 

'Roshell,' by whom he meant Rochelle Hudson. 

As he hadn't known her twenty-four hours, his 

tenderness is less touching than comic." 



Tuesday, 19th, January, 1932. 

WE scratched but quite a bit of the mys- 
tery film last night, and I'll be able to 
send a synopsis to Carl Brandt (his agent) 
this week. I have got an enormous amount of 
work to do, but once I get into it it will be 
thrown off quickly enough. In fact, it has 
just occurred to me that it would be a good 
idea if this afternoon I did the synopsis for 
the — ■ Magazine (Please turn to page 81) 



The New Movie Magazine, September, 1932 



29 




Lilian Bond keeps creeping upward in popular favor — not an exciting rise 
to fame, but surer. Following "The Old Dark House," she went immedi- 
ately Into a totally different type of picture, "Air Mail", with Ralph Bellamy. 
These are two youngsters you ought to watch. 



30 



The New Movie Magazine, September, 1932 




Sea Dwellers 

How Bebe Daniels and Ben Lyon 
solved the problem of a year-round 
House at the Beach 



Above: Bebe's and Ben's beach house, photographed from the sea- 
front, with the high Santa Monica palisades in the background, 
and at the left another of their houses, now occupied by Marlene 
Dietrich. At right: Proud Papa Ben and Barbara Ben Lyon. 





The living-room, laying no claim to any particular period. In the background is a Royal Satsuma Japanese lamp. The picture on 
the back wall is of Bebe's great-great-great aunt, Francisco Julia de Forest, painted by Samuel F. B. Morse, inventor ot the 
telegraph. On the floor is a solid blue rug, bordered by red tile. The walls are old ivory, the drapes antique gold velour. 



The New Movie Magazine, September, 1932 



31 





Above: The English library of knotty pine, naturally finished. On 

the shelves are autographed sets of books from Bebe's father's 

and grandfather's libraries. In the niche are jade and Dresden 

china figures, miniatures 'nd rare Chinese vases. 



Above: Part of Bebe's fine 
collection of knives, scabbards 
and pistols, hung above the 
imported Italian Travertine 
marble mantel in the living- 
room. Many of these are 
from the Rudolph Valentino 
collection. The armored fig- 
ures flanking the shield are 
from the collection of the 
late Earle Williams. 



Below: An interesting corner of the dining-room, showing the 

early Italian built-in buffets. On the shelves are pieces of 

solid silver service presented to Bebe and Ben as wedding gifts 

Note the lightly beamed ceiling. 




32 



The New Movie Magazine, September, 1932 







The Neiv Movie Magazine, September, 1932 



33 






I .. till I 




Irene Dunne is one of Hollywood's mysteries — because there is no 

mystery about her. Untheatrical, socially unambitious, sane in 

her viewpoint, normal and everyday in her life, she has the film 

colony mystified, yet without trying to do so. 



34 



The New Movie Magazine, September, 1932 




Photo by Associated Press 



Marie Dressier in the door- 
way of the Beverly Hills man- 
sion she recently purchased 
from King C. Gillette, the 
safety-razor king. Says Marie: 
"I've been broke so many 
times there's no saying which 
one I remember the best." 



"You're always scared the first 
dozen times you find yourself 
broke," says Clark Gable. 
"Later you just feel interested 
in what is going to pull you 
out of it this time." 




Photo tin Huirell 



For the paths of even the greatest — 

and most prosperous — stars were not 

always strewn with roses 






| LARK GABLE innocently uncov- 
ered some good points in our de- 
pression. 

It seems, according to Clark, 
that when we common, everyday sort of 
folks have depressions we get whole- 
sale prices and privileges. It's almost 
like having an operation ; we have some- 
thing to talk about for the rest of our 
lives. 

It makes those of us who live through 
this period of distinctive interest, as long 
as we live ! We're making history ! . . . 
we're — very miserable about it now, but 
we know we'll be taken out of it. 

Perhaps it might make our own 
troubles lighter to realize how many 
others have come through penniless 
days alone and unaided — not in a time 
of universal depression when everyone 
sympathized and understood the situa- 
tion — but in times when prosperity, 
cheer, high prices and cold indifference 
to the troubles of others, held the rest 
of the world in its spell! 

ALMOST every person of note on stage 
or screen has been through a series 
of individual panics and depressions as 
intense and real to them as is our uni- 
versal one. 

Though their experiences were widely 
different, their conclusion was quite the 
same — that something — call it God, fate, 
accident, coincident, what you will — 
something always lifted them out of any 
desperate situation. 

"If folks who feel helpless in the grip 
of Old Man Depression had been walk- 
ing around in my shoes (with holes in 
the soles) for half a life-time, being at- 
tacked by the Old Fellow around every 
corner in life, they'd stop worrying and 
know there's always a way out!" says 
Gable emphatically. 

"My most poignant memory of private 
panic took place in Butte, Montana. It 
was a cold, blustery day in March and 
the traveling stock company with which 
I was appearing abruptly ceased to 
exist! At this tragic moment I had ex- 
actly twenty cents! 

"I was very young, and I don't mind 
saying I was just plain scared! You're 
always scared the first dozen times you 
find yourself broke! Later you just feel 
interested in what is going to lift you 
out of it this time! 

(Please turn to page 101) 



, The New Movie Magazine, September, 1932 



35 



FROCKS 



Blondes 
Preferred 

Joan Bennett models her 
own clothes — the ones she 
wears at the Brown Derby 
and at Hollywood parties 
— for New Movie readers. 




(Above) Sheer white chiffon velvet with bell 
trimmed in orange blossoms is Joan Bennett' 
ligee — and a lovely favorite. Starting at th 
long scarf ends cross over the front of th 
about the waist and tie on the side. Benea 
which touches the floor and forms a train a 
white velvet sandals. White is one of Joan's 



(Right) More informal is the navy blue fla 
costume which Miss Bennett has selected f 
yet charming wardrobe. The blouse is cove 
shoulder cape, which ties in scarf effect a 
moved. The sash belt is crepe in flame, y 



All pho/os by 
POWOLNY 



3C 



The Neiv Movie Magazine, September, 1932 



Joan Bennett's Measurements: 



Height 5 ft. 3 in. 

Weight 110 lbs. 

Waist 25 in. 

Bust 34 in. 

Eyes . . . . 



Hips 351/2 'n- 

Shoes 5 A 

Gloves 6 

Hair Golden blonde 

Dark blue 



SIMPLICITY is the keynote in designing clothes 
for a girl of the Joan Bennett type. It is the 
keynote that expresses harmony in the ward- 
robe of any girl of similar measurements and 
physical attributes. 

Joan is one of the best dressed girls in the film 
colony. In selecting her clothes she bows to those 
two doughty monarchs — Good Taste and La Mode. 
She buys all of her clothes in the United States and 
most of them are designed and created in Hollywood. 
The illustrations presented here reveal some. of the 
gowns she will wear for early fall in her personal 
wardrobe. 

"Co-ordination — fashion co-ordination — is the sum 
total of Joan Bennett's costume smartness" says 
Earl Luick, who designs most of her screen dresses. 
He speaks from the premise of his long association 
with film productions and as head designer at Fox 
Films studio. 

"Though she may not choose these exact words 
when accounting for her own smart costume 
effects, the clothes of every girl, I believe, will reflect 
whether she has a true understanding of its mean- 
ing. Fashion co-ordination finds its ultimate ex- 
pression in the nicety with which hats, shoes, gloves, 
hose, bags, perfume, costume jewelry and other acces- 
sories are chosen to complement and complete gowns, 
frocks, suits, ensembles, coats — and, each other." 

While simplicity is the ideal type, Luick states, 
the present mode demands an allure which might be 





Joan Bennett will wear this navy blue satin formal gown this 
tall at the more pretentious parties. From her personal 
wardrobe, it is form fitting and cut on bias lines. The feature 
of the blouse is the Eton front held in place by a diamond 
clasp. The back is open almost to the waistline and the 
shoulders are topped with small butterfly bows of self mate- 
rial. Navy blue satin sandals with straps piped in silver 
cloth are worn over nude chiffon hose. 



Her favorite gown, is what Miss Bennett calls the heavy 
white satin dress shown at the left. It is trimmed with rhine- 
stones and bugle beads of crystal. The bodice is cut on bias 
lines and the extra fullness of the skirt is provided by in- 
verted pleats. 



Two tones of blue crepe Kerrigan were used in this stunning 
silver fox trimmed evening coat worn with a blue crepe din- 
ner gown. The closing is effected by means of scarfs con- 
tinuing the bodice front. Blue suede slippers and blue 
crystal and rhinestone bracelets complete the ensemble. 



The New Movie Magazine, September, 1932 



37 



termed "eleganl simplicity." This allure takes many forms 
and steals its inspiration from many periods of dress, but 
its one greal requisite its refinement, its "ladylikeness," if 

j OU will is always there. 

"Good taste may lie exercised in the simplest and most 
economical dressing" the designer explained. "To buy poor 
materials and then trim them elaborately is poor taste in 
the extreme. But, on the other hand, materials of good 
quality, however plainly made, speak for themselves and the 
wearer. 

"In order that one may he certain she is dressed in good 
taste, the gown should not be too conspicuous in color or 
design. If more than one color is employed, the colors must 
harmonize. That indefinable 'something' called style is not 
given to every girl, but with some thought and consideration 
of her good points, a certain amount of style may be ob- 
tained."' 

In traveling around the clock for a day with a girl of the 
.loan Bennett type, Luick outlined, briefly, the costumes she 
might wear and be in pood taste. 

"First of all." said Luick, "a girl with the coloring of Miss 
Bennett will do well to confine her colors to blue, a rich 
brown, or gray for street wear. For formal evening affairs, 
white, nude, light blue or light pink are the most becoming. 

"For morning wear, sports clothes are suggested. And, 
by sport clothes, I do not mean mannish clothes. Nor do I 
mean a mannish type when I speak of tailored costumes. A 
girl of Miss Bennett's type is charmingly feminine and 
should never dress other than to accentuate that quality. 
That is why simplicity — beauty unadorned— is her best ex- 
pression. 

"In her sports clothes she can dare to ignore the dictum 
of skirt length and wear the length best suited to her activi- 
ties. But in her dresses for general wear, ten inches from 
the floor is the preferred length (Please turn to page 95) 



For informal dining Miss Bennett- 
wears this white crepe, medium- 
length frock trimmed in Alencon 
lace, which forms a scarf effect, 
tying on the shoulder into a bow- 
knot. White kid slippers and sun- 
tan hose are worn. 




White shows up again in Miss 
Bennett's wardrobe. This time it's 
a white wool knit sports costume. 
The little beret is of the same 
material and the buttons are 
blue. The decorative straps on 
her slippers are blue also. 




A street dress for "every day" for Miss Bennett is 
made of white and golden brown printed silk 
crepe. The collar, scarf ends and cuffs are of 
white and golden brown organdie in alternating 
triangles. With it are worn a brown hat trimmed 
with white grosgrain ribbon and white kid pumps 
trimmed with brown calf. 



38 



The New Movie Magazine, September, 1932 



HOLLYWOOD 
STEPS INTO 



SANDALS 




! 




Frances Dee selects dainty white satin open-work sandals 
to wear with afternoon tea gowns. Hers are not only cut 
out over the vamp, but a mere semblance of a heel is car- 
ried out by a back strap. The heels are high and the 
arch is built up strongly. These are among the most 
extreme types of sandals. 



The New Movie Magazine, September, 1932 



Lila Lee compliments a sophisti- 
cated hostess gown of tangerine 
and white crepe with brocaded 
cut-out sandal slippers from I. 
Miller. The small photo shows 
the slippers in detail. 



Nothing but 

LOVE 



By WALLACE IRWIN 



To Editor, Tower Magazines, who like to play with 
Literary Firecrackers to make himself emotional. 

Dearest Sir: 

PLEASE ask your printer to put this news on the front 
page. 
Hon. Geo. F. Ogre, greatest director since Adam & 
Eve, have changed his policy, but not the famous 
horse-pants with which he makes a battle on the Lot both 
often and frequently. This Hon. Ogre, making his brains 
cook with giant thoughts, now say there ain't nothing in 
finding the ugliest Woman in Hollywood. Because, he re- 
quire, what shall you do with her when found? Also, he 
dictate, the All Star Cast are nothing but a toothless idea. 
Why is? Because, when you get such many stars in a 
bunch there is so much starlight that the oddience can't 
see the play. 

0!!! what a wise man I are working for! 

"Togo," he report, "from now onwards the Catamount 
Emotion Pictures, Inc., will go back to their old policy, 
Nothing But Love. No more airships, baby-spanking, 
horseraces or bicycles. Just plain Love." 

"Could you not write a film-play about one bicycle in 
love with another bicycle?" I ask to know. 

"Go roll a tire," he narrate peevly. "When I say love I 
mean Love. Do not try to inflect me from my course. An 
emotion picture without love are like a egg without ham. 
I are a stern, silent man of quick decisions." He bit his 
cigar in 2 and say hashly, "Go fetch me my wife, Miss 
Caramel Sweet." 

I GO fetch. But when she come into his Thinking Studio 
he look at her with glass eyes and corrode; 

"& who are You?" 

"I are what you married one night in haste," she choke. 

"My goshes ! When you left me 2 hrs ago you was an 
aluminum blonde. And now, by goldarn, you look like 
something Leo Cabrillo brought in. Wipe that Mexico from 
your face. Remove off that Loppy Valez wigg, and maybe 
you can think straight." 

"What you wish me think about?" she snarrel. 

"Love," he growell. 

"0. That old thing. What you gone to do with it now?" 

"Miss Carmel Sweet," he rebound, "from now onwards 
you will be something more than wife of the Greatest Di- 
rector on Earth. You will be somebody yourself. I am 
gone to make you famus. Ann Howe ! I shall put you in a 
scenario where you shall be made love with by the Most 
Dangerous Man in Hollywood." 

"0 goody. Who izzit?" she ask out. 

"I give you your choise of 6," he narrate. "Miss Cara- 
mel, put on your 100$ stockings & folia me to the Lot?" 

\\TELL, Mr. Editor, you bat your bootware there was a 

vv great calamity of hurry-scurry in that home while 

Miss Carmel Sweet got ready. I almost ran my feet in 

two, fetching her the wrong kind of perfumery to wear 




40 



"Gentlemen of the Jury," holla Hon. Geo. F. Ogre. 
"In odder to film the new world-bursting screem-play, 
'Rough Lovers,' we are putting on one ( I ) short scene 
to prove who are the most dangerous man in Holly- 
wood. Line forms from left to right." 



with the No. 44 Grade A lipstick she decided to 
wear. But at lastly she was ready, so with all her 
drug-store supplies, including 7 extra shoes, 2 furr 
muffs and her Chinese dog name of Boo, I go with 
her proudly in a silverottomobile to where the Lot 
was there, waiting for her. 

You could see by the appearance of that place 
that they had got ready for a pretty mean sort of 
battle. The entire Catamount Photo Gallery was 
there, doing so. The glass talking machine, which 
make life so wunnerful for America's millions, 
stood with open mouth, waiting to take her in. 
Camera men of every size and color was there, 
pointing their machinery. Electrocutioners stood 
with monkeying wrenches, tools and hammers, 
pulling wires. 

what a shot there was to be when it exploded ! 

r>UT that was not the worst. Getting close up 
■*-* to that machinery I seen what I saw. Stand- 
ing in a row was six (6) illustrated gentlemen. 
By their faces I knew them in the following 
list: 

1 — Hon. Clark Gabble, wearing his famous love- 

and-leave expression. 
2 — Hon. Thomas Mix, chewing something he 
borrowed from Will Rogers. 

The New Movie Magazine, September, 1932 










J 



3 — Hon. Jno. Barrymore, pulling down his Grecian face 
and not caring how many hearts was bursted by it. 

4 — Hon. Doug Fairbanks, jouncing cannon balls on his 
muscle. 

5 — Hon. Joe E. Brown, curling his mouth behind his 
ears like a Fireman saving a Child. 

6 — Hon. Alf Monjou, sharpening his muss- 
tache with a nail-file. 

"Gentlemen of the jury," holla Hon. Geo. F. 
Ogre, putting his throat into the megaphone, 
"this are Miss Caramel Sweet. Please to meet 
you. In odder to film the new world-bursting 
screem-play 'Rough Lovers,' we are putting on 
one (1) short scene to prove who are the most 
dangerous man in Hollywood. Line forms from 
left to right. As each candydate step up into the 
talking-machine he are sipposed to say merely, 
'Why do I scare you, little gel?' and make it 
("meaning love). When I shoot a gun, the first 
applicant step into the battle." 

2 hours wait while Miss Cara- 
mel Sweet change from a Ve- 
netian hunting costume to a lace 
painware, sutible to bedroom 
work. Then she get into glass 
cage and lay down on a Egiption 
couch, courtesy of Pessimons 
Bros. 

"First application !" holla Hon. 
Orge, putting his voice through 
(Please turn to page 92) 



Being the latest — and the 
funniest — adventure of the 
famous Japanese 
Schoolboy in the midst 
of amazing Hollywood 



Drawings by HERB ROTH 




Hon. Doug jump over 2 trees to get-at her. 



The New Movie Magazine, September, 1932 



41 



The newest photographs 
of the stars — posed ex- 
clusively for New Movie 
Magazine — while at play 



Jack Oaliie giving you a frater- 
nal greeting at Malibu Beach. 



Eddie Cantor photographing the 
whole darned Cantor family for 
us — Mrs. Cantor, Marjorie, Nata- 
lie, Edna and Marilyn — at Malibu. 




42 



The New Movie Magazine, September, 1932 




\ 






Above: Wesley Ruggles, the director (sitting on the medicine ball), Arline Judge 
(Mrs. Wesley Ruggles), and brother Charles Ruggles on the steps of the Wes Ruggles 

home at Malibu. 



Below: Mr. and Mrs. Frank Albertson 

practicing married-life jiu jitsu at 

Malibu — for the benefit of the New 

Movie cameraman. 





Above: Reading, by the way, from top to 

bottom, you see Lucille Brown, Margaret 

Lindsay, Arietta Duncan and Tom Brown at 

the Santa Monica Swimming Club. 



__: 



Wallace Ford, Patricia Ann Ford, and 
Mrs. Ford posing for New Movie Mag- 
azine's photographer on the beach 
at Malibu. 



The New Movie Magazine, September, 1932 



43 



CLARK GABLE'S 

First Sweetheart 




(Above) Clark and Marjorie Miller 
(Sharpe) when they were kids together in 
Cadiz. (At Right) Mrs. Marjorie Miller 
Sharpe as she is today — photographed 
exclusively for NEW MOVIE MAGAZINE. 
(Below) Clark Gable today, polished, so- 
phisticated, the idol of millions. 



As reported by 
SUSAN WARNER 



Photo by Harry A. Cole Studio 



A Day's visit with a group of real people in the life of the hometown boy 

who has become one of the screen's great lovers 




A TINY gold thimble, the gift of a nine-year-old boy to a 
seven-year-old girl, is the most treasured possession of 
Mrs. Marjorie Miller Sharpe of Cadiz, Ohio, because — 
It was given to her on her seventh birthday, twenty- 
one years ago, by none other than Clark Gable. 

Mrs. Sharpe, now happily married to a Cadiz dentist, merits 
the title the town has bestowed upon her — "Clark's first girl." 

More than that, Cadiz says that Marjorie was Clark's only 
girl, for Clark just didn't care much about girls. 

But he did like the black-haired, hazel-eyed Marjorie with 
her two pert hairribbon bows at either side of her head where 
her braids looped, for he saved every penny he earned carry- 
ing milk for the neighbors to buy her the gold thimble he gave 
her at that memorable birthday party. 

"Clark was the hero at that party," Mrs. Sharpe told me the 
other day. "He helped mother plan it — in fact, he put mother 
up to it. When he gave me that thimble, we got word that my 
grandfather died. I started to cry, and I still remember how 
Clark wiped my tears away with his handkerchief, while he 
was holding that thimble in his hand, all wrapped up in cotton 
batting. 

"Should you like to see it? I have it upstairs in my room. 



44 



The Neiv Movie Magazine, September, 1932 




Photo ly Harry A. Cole Studio 



Aunt Mary Ella displayed a faded blue middy blouse. 
"Clark was a right smart little one," she said, with pride. 



Photo by Harry A. Cole Studio 

"You want to know about my boy?" asked Uncle John, who 
helped to raise Clark. "He's the best there is." 



'Do 



I put it away carefully, and I wouldn't 
trade that thimble for a million dollars." 

SHE is five feet tall and daintily built 
from the tips of her blue suede 
slippers to the top of her head, which is 
covered with black hair which falls in be- 
coming, soft, wide waves. 

She wore a blue dress, modish with a 
wide suede belt. Her eyes are hazel, the 
"same color as Clark's, cat eyes," she told 
me. 

She doesn't look the 28 years she con- 
fesses to, nor does she look old enough to 
be the mother of the charming little 
daughter of school age whose picture 
stands on the mantelpiece over the fire- 
place. 

In addition to keeping house and caring 
for her little daughter, she assists her 
husband in his office, because "I like to be 
out among people." 

The house in which she lives is roomy and old- 
fashioned. Built of red stone, it stands right across 
the street from the Hotel Custer, where Clark Gable's 
photograph now shares equal and conspicuous honors 
with that of General Custer, the hero of that locality. 

"T KNEW Clark before he started to school here," 
1 Mrs. Sharpe exclaimed. "You see, his mother died 
and he went with his father to Hopedale. There he 
lived with his aunt and uncle. 

"When Clark came back here, he went into the second 
grade, and I just had started in the first grade. He 
practically lived at our house all the time. He had a 
stepmother, you see, and not much home life." 

Mrs. Sharpe crossed her knees and swung a shapely 
foot to and fro. 

"You know, talking about Clark is like talk- 




ing about a member of my own 
family. 

"What did he look like then? 
Let me show you this picture." 
She displayed a class picture 
with Clark sitting with a bat 
in his hand, a lock of hair over 
one eye, anxiously leaning for- 
ward in his seat, posed for the 
camera. "Can you pick him 
out? Yes, that's him. That 
picture of him perhaps ex- 
plains his success. 

"He had to get out in front. 
Clark led everything. With 
the boys he was a bit of a 
bully, but with the girls he 
was gallant and considerate. 

"Did you see 'The Fall and 
Rise of Susan Lennox?' Do 
you remember how Clark was 
in the first part of that pic- 
ture? How he acted toward Garbo? That was typical 
of Clark — that was his attitude toward girls — oh, so 
very gallant ! 

"I remember one Sunday we went out chestnut hunt- 
ing. Clark threw a club up in the tree to shake the 
chestnuts down. The club fell and hit me instead. He 
was so kind and considerate, just like he was in 'Susan 
Lennox.' 

"Our biggest treat then was to go to Sunday school. 
And every Sunday night we would go to the Epworth 
League. 

"We would have a different leader every week. Clark 
always wanted to be leader. When he was right up 
in front of the room, he was tickled to death over it. 

"After Sunday school we would go berry-picking. In 
the fall and winter we would walk the Wabash railroad 
track. (Please turn io page 104) 



Photo by Harry A. Cole Studio 
envy him? Would I change 
places with him?" asked Andy Means, 
Clark's boyhood pal. "No, sirree!" 



The New Movie Magazine, September, 1932 



45 




I'huto by itny Jo 



Zasu Pitts and her director, John Stahl, taking time out a\ the Universal commissary during 
the filming of Fannie Hurst's "Back Street." Zasu's newest part is that of Miss Leighton, the 
supercilious receptionist in "Once in a Lifetime," in which Louise Fazenda will also be seen. 



46 



The New Movie Magazine, September, 1932 



■tUI 



TED COOK, 



the famous humorist, at large in Hollywood 




Y oO 'ike 



«* 



too nec/ ^ lS / a „ d motion -p/ eto o<tro«, ? Oh . 



'*h a 




Cook-cooing the Movies 



B 



EFORE taking up the regular order of this 
month's business we would like to have you — 




Anyway, the boys can have a 
telling each other about the 



TEST YOUR KNOWLEDGE 

BE AS FAMILIAR WITH HOLLYWOOD AS YOU ARE WITH 
YOUR LANDLORD'S HAND 

Answer the following questions on one side of the 
paper only. Seal your replies in a self-addressed en- 
velope and drop in the 
nearest mail box. The 
prize for the best an- 
swers is a Baldwin 
locomotive with fifty 
miles of track. 

1. A smart boy in 
what town is cleaning 
up in a big way by 
renting autograph 
hunters by the hour to 
neglected film actors? 

2. Why wouldn't it 
be a good idea for 
cinema actors to be 
more mysterious off 

the screen and make things a little clear when on? 

3. What studio recently transferred a veteran pub- 
licity man to the scenario department because his 
imagination was giving out? 



And, of course, there may be some idle gossip in 
Hollywood. But there're always fifty chatter-writers 
eager to put it to work. 



HOW would you like to be marooned on an island 
with a motion-picture actress? Or a leading man? 
Oh, very well. 

It isn't easy to arrange — but we'll do the best 
we can. 

On second thought, it may be better just to 
tell you beforehand what they'd talk about. 

Now if your companion happened to be — 

TALLULAH BANKHEAD— She'd sooner or 
later confess that her throaty, vibrant voice 
is the result of laryngitis. You'd observe her toe- 
nails are painted vivid red. And she might con- 
fide that of all the things she's been called, her 



Be as familiar with Hollywood as you are with 
the palm of your landlord's hand. 



favorite name, pet or otherwise, is "Sweet TNT". 

TAMES GLEASON— Would talk about horses, monkeys 
*J and bees. He'd tell you how he kept bees on the 
porch outside his bedroom door in Beverly Hills — 
and that his monkey, "Mingo," was a gift from 
Claudette Colbert. And that, after buying seventeen 
saddle horses, he hired a financial guardian to look 
after his money. 



TUPE VELEZ would be hilarious one 
■'-^moment, and wallow in dejection the 
next. She'd tell you that she had more 
fun with Jack Gilbert than with any man 
she ever knew. And she'd be wearing 
a wedding ring and insist she bought it 
for herself just to give gossips something 
to puzzle about. 

"DICHARD BENNETT would tell you 
-T^- that he started out with a medicine 
show and lost his first stake trying to op- 
erate as a professional gambler in Denver. 



fine time 
weather. 



A/fARLENE DIETRICH might recall 
*■*■*■ her childhood when she studied hard 
to become a concert violinist, and how this career ended 
suddenly due to an injury to her hand. How she then 
enrolled in Max Reinhardt's dramatic school, and was 
suddenly yanked into pictures the morning after von 
Sternberg, sitting in the front row of a Berlin theater, 
heard her speak eleven words in English. 

f^EORGE BANCROFT would tell you about his days 
^* as a gunner aboard the U. S. S. Baltimore and 
give you his version of his most exciting experience — 
the battle of Manila Bay. 

And Clive Brook might (Please turn to page 108) 




The New Movie Magazine, September, 1932 



47 



Our Hollywood 
KINDERGARTEN 

New Movie asks cheers for the starlets — 

for you are the judge and the jury. Their 

fate is in your hands. 



Diane Sinclair's first film bow to you is in "The Washington Masquerade." She's 
nineteen, of French and Dutch parentage, born in Dutch Guiana, and was left an 
orphan when a baby. Adopted by Americans, she was sent to public school in 
Philadelphia, studied art, took up amateur theatricals, played three years in stock, 
and was discovered by an M-G-M contract scout. You see her at the right. 






48 



Photo by 'Powolny 

Above is Marion Burns, being introduced to 
the mysteries of movie makeup by James 
Barker at the Fox studios. Born in Holly- 
wood — her birthday's August ninth — but 
made her way into films by way of the 
spoken stage, having played in stock in Los 
Angeles, Oakland, San Francisco, El Paso, 
Denver, in touring companies, followed by 
several New York stage engagements. 
Married to the actor, Bruce Macfarland. 

Gertrude Michaels (you see her at the 
left, at the seashore with Virginia Bruce) 
is five feet seven inches, weighs I20 | has 
brown hair and blue eyes, was born in 
Talladega, Alabama, in 1911 — her birth- 
day's the first of June — plays the violin and 
piano, her hobby is collecting books, and 
she came to the movies through singing on 
the radio. Was on New York stage in 
"Caught Wet." Organized her own Little 
Theater in Talladega after two years in a 
stock company. Taught dramatics and 
dancing in High School. Her first picture 
was "Wayward." 



The New Movie Magazine, September, 1932 



. .. 




-' 










mmM 
Photo by living Lippman 



Above is Betty Gillette, the little New York Social Registerite 
put under contract by Warners-First National, daughter of a 
New York banker — a blue-eyed blonde who weighs 102 pounds 
and is five feet, three and a half inches tall. Her recent' 
pictures are "Big City Blues," "Blessed Event" and "Life 
Begins." Her pet recreation is horseback riding. 



Photo by Mack Elliott 



Dolores Rey (above) is the new Columbia find. She went into 
the pictures by way of Earl Carroll and Flo Zeigfeld in New 
York, although she was born in Fresno, California. She's blond- 
haired, hazel-eyed, five feet five inches, 108 pounds, educated 
in Washington, D. C, and Holbrook, Mass., likes wicked roles, 
pet aversions are tired business men, jealous wives and tennis. 



At right: Joan Marsh and Arthur Pierson surfboard-riding. 
Arthur's a Fox newcomer. He was born in Christiania, Norway, 
is five feet, ten and a half inches tall, and has dark hair and 
blue eyes. Played in Portland and Seattle stock companies, 
toured with "So This Is London," and then went into the 
New York production of "Remote Control." His latest film is 
"Bachelor's Affairs." 



The New Movie Magazine, September, 1932 




49 




The Barry more Mystery 



By IVAN ST. JOHNS 



An ardent admirer 
Salutes Lionel 



WE regard the Chinese as an un- 
canny race, inscrutable, mysteri- 
ous, sinister. It is but an 
impression, heightened, perhaps, 
by Cut inn about these people who are 
really almost childlike in their sim- 
plicity, who are far more sentimental 
than their Occidental brothers, and who 
gel their reputation for mystery solely 
because they are, in their mode of living 
and their beliefs, different from us. 

And so, in the hectic rush of Holly- 
wood, in its atmosphere of realities 
tinged with dreams, drama and make- 
believe, where even homes take on the 
trappings of picture sets, where the lan- 
guage of the studio is incessantly talked, 
and where the very psychology of the 
community is different from that of the 
rest of the world, Lionel Barrymore is 
mysterious. 

He wasn't mysterious to his associ- 
ates on the stage. He wouldn't be a bit 
mysterious to Kansas City or Cincinnati. 
He's just mysterious in Hollywood be- 
cause he has the habits and mode of 
thinking of the fellow in Kansas City 
or the rest of these United States. Lionel 
Barrymore's mystery is purely geo- 
graphical — like Ambrose Bierce's defini- 
tion of an infidel — "In New York, a Mo- 
hammedan ; in Mecca — a Christian." 

LIE likes to attend to his business, 
A -*■ then seek his pleasure in the simple 
ways that please him best. He would 
rather work all night on an etching or 
a painting than dance all night at a 
social function. He would rather stay at home and 
read than go to a premiere and take bows amid the 
studio lights, microphones and all the rest of the fan- 
fare. 

When he happens to be dragged to a premiere he 
slips unobtrusively in, while the rest of Hollywood is 
being newsreeled and microphoned with all ceremony. 
If he's at a party he'll probably be found in an out-of- 
the-way corner, with a book. 

Which makes him mysterious. 

Hollywood can't see why a man of his attainments 
doesn't flaunt them. Here is the actor who won the 
Motion Picture Academy award for the finest perform- 
ance of the year in "A Free Soul." At the great social 
function, attended by the vice-president of the United 
States, at which the greatest group of nationally 
and internationally famous characters ever assembled 
was present to do honor to Barrymore and Marie 
Dressier, the most humble person present was that 
same Barrymore. One wag remarked that he acted 
more as if he were to be hung than paid the highest 
honor within the power of the screen industry. 

Consider Barrymore, the man. 

As an artist he was as successful as he is as an 
actor. His paintings won him fame; in New York he 
made his mark as an illustrator. He is a gifted pianist, 

50 




Photo 111 Hurrell 



Actor, director, artist, musician, Lionel Barrymore 
is another Hollywood mystery. 



a composer of exquisite music. As a film director he 
made talking-picture history with "Madame X" and 
other successes. He can create before the camera or 
behind it. 

Quiet of manner, rather preferring solitude, he is, 
with chosen friends, a genial companion, a brilliant 
conversationalist, a scintillating wit. The few who are 
privileged really to know Barrymore revel in his 
epigrams, his brilliant conversational flashes. 

He can sit on a set with Ernest Torrence, who also 
composes music, for instance, and talk by the hour on 
harmony, counterpoint and instrumentalization. But 
let someone interrupt and ask him what he thinks of 
Susie McGoop's new wedding, or Mazie Matzos' divorce, 
or some current Hollywood topic of interest like that! 
He gives one disgusted look and shuts up like a clam. 

He is tolerant of everything save stupidity. 

AS a director, he showed the patience of a Job. One 
night, in "Madame X," they were having trouble 
with the lines of a certain player. He kept stumbling 
over one sentence. They (Please turn to page 90) 

The Neic Movie Magazine, July, 19 32 




riwtD by Hurrell 



Thelma Todd is coming to be known as the blonde 



--Je menace of the films. Vivacious, with personality plus, she's the vampina chorus airl aaain 
m Buster Keaton s Speak Easily. Although under contract to Hal Roach, Thelma is continually sought by other companies 



The New Movie Magazine, September, 1932 



51 



Putting Hollywood 



HERB HOWE — Our Hollywood 
Boulevardier — waxes indignant 



WITH private detectives hiding in tho hibiscus, 
nursery windows barred against kidnapers, 
bristling bodyguards in constant attendance, 
Hollywood seems to have put herself on the 
spot with her gangster pictures. 

Unquestionably these films have been a source of 
inspiration to the criminal amateur. To say they 
pointed a moral is to talk like a schoolman trying to 
explain the moral of "Deadwood Dick, or the Terror 
of Brewery Gulch." If these epics did not glorify the 
gangster, how are we to explain the new race of 
idols? Under the heading "Villainy Pays," a local 



paper features our current favorites: Edward G. Robin- 
son, James Cagney, Clark Gable, Wallace Beery, George 
Raft, Paul Muni, George Brent, Lionel Barrymore. It 
is unfair to some of these actors to classify them as 
villains but the fact is they have established new 
records of popularity in Caponish roles. 

HpHE press, not the screen, is primarily responsible 
*- for stimulating a morbid interest in crime. But the 
pictorial suggestion is far more potent. Personally I 
enjoyed "Little Caesar," "Public Enemy" and "Scar- 
face," not because they dealt with gangsters but 
because they were pictures of dramatic action. Most 
talkies are static. 

Thus far these crime dramas have had no apparent 
effect on me in a criminal way but then, thus far, I 
am not one of the ten million unemployed. 

While I think censorship stupid, I do believe that such 



ILLUSTRATION BY 
CHAMBERLAIN 




52 



The New Movie Magazine, September, 1932 



on the Spot 



public utilities as the screen and press have a responsi- 
bility in these times just as they had in war days. 

Of course, "Scarface" was supposed to be the crime 
picture to end all crime pictures. You know about the 
war to end all wars. However, now that the kiddies 
of Hollywood are traveling in armored cars, are given 
gats instead of rattles and baby tanks instead of kiddie 
cars, their parents may resist the temptation to grab 
the "easy money" of crime pictures. Hollywood herself 
is now tasting the moral of retribution. But there! 
there! I'm talking like a schoolman. 

[ FIND moral solace in the box-office triumph of 
■*■ "Tarzan." It promises to top "Grand Hotel" in 
popularity. This goes to prove that we want action and 
that the greatest stars of Hollywood are no match for 
real apes. 

Chita, the ape-mother, was far more human than 



any of our poseuses. She hadn't dis- 
torted her brows or painted her lips 
in emulation of Toto, the clown. And 
when she stood on her hind legs she 
didn't crook one knee over the other 
to get that stylish line. Indeed, Chita 
is the only new discovery who hasn't been apish or given 
a burlesque imitation of the inimitable Garbo. 

A MENACING note just received informs me that 
•^*- Gene Dennis, the soothsayer, has predicted that un- 
less I write more about Clark Gable I will not be writing 
about anybody next year. 

Well, there are ten million unemployed and I'll bet 
not one of them has my talent for being that way. As 
a beach-comber I'd be the world's greatest coiffeur. 

Besides, Miss Dennis, while awing Hollywood, pre- 
dicted that Joan Crawford would play "Red-headed 
Woman." So yah-yah. Nevertheless, I think Clark 
Gable a great guy, more and more. 

TJY way of flipping the glove at Miss Dennis I'm 
-*-' saying that What-a-man Gable has a challenger in 
What-an-apeman Weissmuller. Johnny has performed 
the miracle desired by producers — that of bringing the 
kiddies back to the movies. You know the kids, hav- 
ing better sense than us adults, walked out on the 
static gabbies. They wanted movies, not snapshots of 
stage plays. 

Johnny, furthermore, is unique in having equal ap- 
peal to men and women. 

What man today would not 

like to go primitive, swing 

in the branches and develop 

a form like Johnny's? 

jrlw jH! 9k (Please turn to page 106) 




The New Movie Magazine, September, 1932 



53 



NEWS and PICTURES of 



Advance information on what the 




Two Against the World — Warner Brothers: All about the 
Hamilton family, one of Boston's best. . . . Constance 
Bennett the rose among thorns. . . . Neil Hamilton the 
young attorney she loves ... a married and faithless 
sister, a loafing, drunken brother, a snobbish family, a 
suicide and a murder. With Alan Mowbray, Helen Vinson, 
Gavin Gordon, and directed by Archie Mayo. 



Son of Russia — First National: This story Douglas Fairbanks, 
Jr., helped to convert to the screen from "Revolt," the 
novel by Mary McCall. Laid in Russia during the Revolu- 
tion. Filmed during the hot summer, with Doug, Jr., starred, 
wearing high-collared uniforms — and declaring he was hav- 
ing a fine time. Nancy Carroll is the heart interest. 
Directed by William Dieterle. 




Smilin' Through — M-G-M: Norma Shearer, surrounding 
herself with some of the best lovers of the screen — Fredric 
March, borrowed from Paramount; Leslie Howard, bor- 
rowed from RKO, and Ralph Forbes, the master of Ruth 
Chatterton's manor. Sidney Franklin is directing this classic 
of the stage — a story of war-torn England. With such a 
cast, such a story, a capable director, and Miss Shearer's 
always finished production, this film should be a success. 



The Blonde Venus — Paramount: Marlene Dietrich is mar- 
ried to Herbert Marshall, a small-salaried workman. Dickie 
Moore is their child. To get money for Marshall, who is 
dying, she joins a cabaret. After a series of degrading 
events she reaches success. This is the picture over which 
the Dietrich-Sternberg-Paramount controversy waged. 



54 



The New Movie Magazine, September, 1932 



FORTHCOMING FILMS 



Hollywood Studios are doing 




Three on a Match — First National: Three girls, Joan Blon- 
dell, Ann Dvorak and Bette Davis, graduating together 
from school, separate, then meet ten years later. Theip 
separate lives, finally merged, makes an interesting story. 
Warren William plays the male lead. Mervyn Leroy, who 
directed "Five Star Final," at the megaphone. 



Murder of the Night Club Lady — Columbia: From the 
novel by Anthony Abbot, featuring Adolphe Menjou, 
Pauline Frederick and Niles Welch — the first of a series of 
three best-selling mystery novels that Columbia will pro- 
duce. Three murders occur in this, the first one while the 
police commissioner and six detectives are in the room — 
and you'll be kept guessing to the very end of the last reel. 




After the Rain — Fox: From the play by A. C. Kennedy and 
directed by John Blystone. The locale is the streets and dives 
of Singapore, aboard a South Sea schooner, and on a remote 
island of the Marquesas. Peggy Shannon — there for no good 
reason — loathed men and feared marriage, but Spencer Tracy, 
an ex-Marine, disrupted her well-planned program. 



Thirteen Women — RKO: Adapted from one of the year's 
best sellers, by Tiffany Thayer, author of Clara Bow's next, 
"Call Her Savage." Cast is headed by Irene Dunne, Jill 
Esmond, Mary Duncan, Myrna Loy and Ricardo Cortez. 
This picture, directed by George Archainbaud, and one of 
Hollywood's most-talked-about forthcoming releases, tells 
of a Swami who forecasts the lives of thirteen girls, sorority 
sisters, with an unusual and most spectacular ending. 



The Neiv Movie Magazine, September, 1932 



55 



WHAT'S GOING ON IN MOVIELAND. All of the latest flashes 




They Call It Sin — First National: From the novel by Al- 
berta Steadman Eagan. George Brent gets third place 
on the billboards, yet he's the one who carries the love 
interest and gets the girl, none other than Loretta Young. 
David Manners is the not-too-nice young man, and Una 
Merkel adds the lighter moments. Directed by Thornton 
Freeland, all the way from Loretta's Kansas church organ 
to New York's Gay White Way, where the plot speeds up. 



Fraternity House — R-K-O: Taken from the play, "Cross- 
roads," by Martin Flavin, directed by Gregory LaCava, 
with Dorothy Wilson, Richard Cromwell, Arline Judge, Eric 
Linden and John Halliday. All about what happened on 
the campus of a small co-educational college where life; 
is filmably hectic. 



Untitled M-G-M: Marion Davies and Billie Dove, two 
Follies girls, are the principals in this picture, still un- 
titled as we go to press. The story is an original by 
Frances Marion, who wrote "Emma," "The Big House," "The 
Champ" and other successes. Directed by Edmund Gould- 
ing, who put on "Grand Hotel." In the cast are Robert 
Montgomery, co-star; James Gleason and Zasu Pitts. It 
is, briefly, the story of the friendship of the two girls, their 
careers, and their return to the simple things of home. 





The First Year — Fox: Janet Gaynor marries Charlie Far- 
rell to escape the middle-class existence in the village of 
Reading. Things go from bad to worse, and when an old 
flame of Janet's hands out a false business tip Janet blows 
up and returns to the protection of the parental shingles. 
However, Charlie puts over a big deal and everything 
ends happily . . . maybe. It's from the play by Frank 
Craven and under the direction of William K. Howard. 




56 



The New Movie Magazine, September, 1932 



of the newest film-plays in production in the major studios 



Love Me Tonight — Paramount: Based on a play by Leo- 
pold Marchand and Paul Armont. Chevalier as a French 
tailor finds himself, after a series of amusing events, a 
"count" and a guest at a week-end party in a French 
chateau. One of the guests, a princess (Jeanette MacDon- 
ald), falls madly in love with him. When she discovers 
he is only a tailor she becomes furious but the way to 
love is finally navigated. Directed by Rouben Mamoulian. 





Airmail — Universal: An isolated desert airport, relay sta- 
tion for the United States mail, picturing many thrills, 
several sensational crashes, and heart interest supplied by 
Ralph Bellamy and Gloria Stuart, aided by Pat O'Brien, 
lim Summerville and Lilian Bond. Picture being shot near 
Bishop, California, three hundred miles from Los Angeles, 
where Universal built its own airport, with a background 
of mountains and desert. Directed by John Ford. 






Downstairs — M-G-M: By John Gilbert, starring John Gilbert 
— for he really wrote it. With Paul Lukas, Virginia Bruce — 
to whom John is engaged — and Olga Baclanova. John 
has long wanted to do a picture in which he's not the 
Great Lover. Now, in this story in a German setting, he's 
the villain who is killed in the end. Directed by Monta 
Pell, this film should give Gilbert the dramatic oppor- 
tunities he is seeking. 





The Most Dangerous Game — RKO: The story of a hunter 
hunted. A mad Russian turns his island domicile into a 
hunting ground for humans, and plays deadly hide-and- 
seek v/ith a young sportsman in a duel to the death, with 
a beautiful girl castaway at stake. Merian C. Cooper and 
Ernest B. Schoedsack directing, Joel McCrea and Fay 
Wray the hunted couple, and Leslie Banks the mad Rus- 
sian. From the story by Richard Connell. 



is 



The Neiv Movie Magazine, September, 1932 



57 




Photographed exclusively for \eu> Movie by William A. Fruiter 
Back at home in Beverly Hills again — Edmund Lowe after a tour in vaudeville, and Lilyan Tashman after 
three trips East in as many months. And they do say Lilyan has bought so many clothes that she has 
given over a whole room to them, with racks and shelves and drawers just like a private costume shop. 



58 



The New Movie Magazine, September, 1932 



It's a Great Life! 



1 



By JOHN J. RODGERS 



Even if the breaks are 

bad, Eddie Lowe just 

keeps on grinning 



THE best counter-irritant for general de- 
pression in Hollywood is Eddie Lowe. 
Probably he has troubles. But if he 
has, he keeps 'em to himself. What's more, 
he doesn't care about listening to yours. He will, 
but he doesn't by any means encourage it. 

When everybody else seems bent upon discus- 
sing things gloomily; when every other actor 
is kicking about his director, his stories, his 
parts or his salaries; when the stock market 
crash still absorbs a vast number and the natur- 
ally pessimistic mention dark matters in low 
tones — Eddie is about the best person in Holly- 
wood to meet up with. 

Eddie thinks life is great. He enjoys every 
minute of it. If the breaks are tough, he ac- 
cepts them with that broad grin of his and re- 
marks in passing that the world is full of a num- 
ber of things. Whereas with the majority right 
now something is always wrong, with Ed. Lowe 
something is always right. 

He likes his own wife better than anybody else. 
He likes his job, and when they make bum stories 
or put absurd titles on his pictures, he concen- 
trates on the size of his weekly salary check and 
refuses to get hot and bothered. 

Being big and tough, Eddie is one of the few 
Hollywood actors willing to admit openly and 
freely that they love acting. It's fun. Doesn't 
want to direct or write or go to Europe to live. 
He's been to Europe and thinks it's great — for a 
visit, but the good old U. S. A. for Eddie every 
time. Acting is his game, and his pals in Holly- 
wood are okay, and his home is altogether de- 
lightful to him. 



IT'S a real kick to find anybody in Hollywood 
who isn't either bored or Bolshevik. The 
upset and uproar of the talkies has not yet 
died away. For long, it has been somewhat the 
fashion to look down upon the intellectual diver- 
sions of Hollywood. To yearn for Other Things. 

Eddie Lowe isn't bored. I don't imagine he'd be bored 
if he was selling shoes or picking cocoanuts off a 
desert island. His mind is too active, his imagination 
too colorful, to allow him to be bored. People, — all 
kinds of people — amuse and entertain him. The 
0. Henry touch of seeing amazing little stories about 
the most ordinary people and things is part of his 
equipment. If there weren't any people around, he'd 
have a good time somehow remembering the ones he 
used to know. 

He is a brilliant raconteur, with a vivid sincerity in 
all he says. Exceptionally well-bred and well educated, 
he can talk about almost anything with fervor, with 
enthusiasm. Like Jack Gilbert, he has kept that grand 
fire of enthusiasm burning bright. 

But even better than being a good story-teller him- 
self, he's a great listener. Walter Catlett remarked 
not long ago that there were practically no "straight 

The New Movie Magazine, September, 1932 




Exclusive photo by Tower Studios 



Being big and tough, Eddie Lowe is one of the few 

Hollywood actors who is willing to admit openly and 

freely that he loves acting. 



men" left in the business. Likewise, there are few left 
in conversation. Eddie can be a good "straight man" 
if he wants to, which is a blessing beyond price in a 
land where almost everyone desires the spotlight. Eddie 
likes it when he gets it, but he's just as happy when 
he's listening to somebody else. 

His real passions are Lilyan Tashman Lowe — whom 
he regards as the most brilliant and amazing woman 
on earth — fine books, and the theater. He's one of the 
few persons of whom you dare to ask questions when 
he says he's read a book. 

"pDMUND LOWE was born in San Jose, California, 
-*--' but the family moved to San Francisco when he 
was a kid. There his father was one of the leading 
political lights and the family name is well known in 
California history. Eddie went to Santa Clara College, 
which is a Jesuit institution, best known to the public 
for its football teams and (Please turn to page 88) 



59 



w 




Photciprophcd exclusively for .Yeir Movie Magazine by Wide World 



Two radio stars and their brood — George Olsen, orchestra maestro, his wife, 

Ethel Shutta, the singer, and the Olsen brood, out for a summertime frolic 

far away from the microphone. 



60 



The Neiv Movie Magazine, September 1932 



Radio Rambles 

The latest intimate gossip about the Great and the 
Near Great of the Air — and what they are doing 




Photo bit Wide World 



Photo by Associated Press 



Lawrence Tibbett and his bride, aboard ship sailing for 
Europe, where this opera-movie-radio star will study for 
three months. And we thought he had been graduated! 



The New Movie Magazine, September, 1932 



Ruth Etting, now one of the highest-salaried stars of the air 
following stardom on the stage — photographed in her New 
York apartment exclusively for NEW MOVIE MAGAZINE. 



HIGH up on the roster of recent radio visitors 
to Manhattan is the old maestro, Ben Bernie. 
We stopped in to see him at his dressing-room 
where we interrupted him in the midst of read • 
ing a flock of telegrams from the racetrack. Ben's 
chief outside activity, as you have probably gathered 
from his broadcasts, is that of turfman. We asked 
Ben if he wouldn't let us know how he came out the 
next day — and we got the following telegram dated 
Belmont Park: 

RADIO EDITOR 
NEW MOVIE MAGAZINE, 
55 Fifth Avenue, 
New York City. 

DREAMED LAST NIGHT HORSE NAMED 
QUOTE HAT UNQUOTE WON RACE STOP AT 
RACETRACK TODAY PUT ALL I HAD ON 
HORSE NAMED HATTERAS STOP WHEN 
RACE WAS OVER DISCOVERED QUOTE FE- 
DORA UNQUOTE HAD COME HOME FIRST 
STOP FROM NOW ON AM ONLY TAKING 
TIPS COMING STRAIGHT FROM HORSES 
MOUTH 

BEN BERNIE 



61 



For you never can tell: That one- 
way shed to radio fame is plentifully 

strewn with tacks and broken glass. The 
radio artist's fame is far from puncture 
proof. Year in and year out, people may 
be faithful to their wives, their children, 
their automobile, their regular morning 
paper, their favorite brand of breakfast 
food or even their mother-in-law — but 
when it conies to entertainment, that's 
another something else again. Once a 
radio performer gets to the top of the 
Ilea 1 1 his work has only begun. Everyone 
is talking about him from Coast to Coast; 
his strong points, his weak ones — the 
slightest slip and he gets a thousand 
criticisms. All these headliners will tell 
you that the heartrending struggle to 
Stay at the top of the ladder is invariably 
twice as hard as the scramble up the rungs. 
We could mention twenty stars whose 
names were on every listener's tongue 
three years ago; and now they're virtually 
forgotten. That is, we could mention 
them if we ourselves could remember their 
names. 

And several of them crooners — forgiven 
only because they are forgotten. 

A new low: One radio headline 
name, however, is destined to go thunder- 
ing down the tracks of time whatever 
happens. The only possible reason for 
saying he carries less weight now than 



Arthur Jarrett in his New York home, surrounded by 
books he really reads, with a real kitchen in which 
he really likes to cook — occasionally — and all the 
other comforts of home — photographed exclusively 
for NEW MOVIE MAGAZINE by Wide World. 




S / 



he did two years ago is thanks to a Holly- 
wood reducing diet. Paul Whiteman, the 
King of Jazz, as you probably have al- 
ready heard, is down from around three 
hundred pounds to only one hundred and 
eighty. And now its another kind of cor- 
poration that's got him working instead. 
An automobile corporation. 



Ancient Mariner makes 
good: Though he was reported 
to have made three-quarters of 
a million out of the blue note in 
1929 alone, in the subsequent 
two years the winds of public 
fancy shifted and the Regent of 
American Rhythm found himself 
becalmed in a sea of jazz bands 
which were technically his musi- 
cal inferiors in a dozen ways. 
{Please turn to page 113) 



Here the all-seeing camera caught 

Bing Crosby in the midst of a bil- 

ard match. And if you don't think 

he's trying a difficult shot, just get 

that expression. 




62 



Photo ly Wide World 

The Neio Movie Magazine, September, 1932 



You must 



Come Over 

How Hollywood Entertains 



\ 




Photo ly H'iV7c World 



Gary Cooper's Toluca vied with Mary 

Pickford for the honors at the big party 

Gary gave. 



Going p/aces with the Film Favorites 
in their most frolicsome hours 

BY DORIS DENBO 



I 



'M having my first Hollywood house- 
warming next Sunday. Won't you 
drop in for tea — and fun?" smiled 
my pet exotic, Tala Birell. And I 
did drop in. 

Ramon Novarro, who had arrived 
with Laura Hope Crews, sang three 
romantic Spanish songs which were en- 
thusiastically received. Ramon seems to 
have that Old World charm which never 
fails to draw enthusiastic support from 
women. 

And, oh — watch out, girls, for that 
charming and interesting Gerald Field- 
ing! He's a newcomer to Hollywood 
and declares he is not interested in pic- 
tures though he has come to Hollywood 
to stay indefinitely. 

He and Ramon had much talk in com- 

The New Movie Magazine, September, 1932 



Tola Birell gives a house-warming in true Viennese style — and one 
of her most charming guests is Irene Dunne. 



mon since Gerald was Rex Ingram's 
leading man in France for a number of 
pictures and it was Rex who launched 
Ramon forth on his career. 

One of the smartest and most charm- 
ing women present was Irene Dunne. 
She wore a pale green angora sport out- 
fit, with a smart white hat, white gloves, 
cut-out sport shoes and, as the sport 
suit was trimmed in white, she made a 
cool and attractive figure. 

Tala Birell wore a softly clinging 
afternoon gown of French blue flowered 
chiffon. The three ruffles on the skirt 
each featured a sapphire blue bow. She 
is decidedly the continental type, but 
quite different from the other foreign 
stars who have come to Hollywood. She 
is a devotee of the arts and, as do all 
Viennese, adores beautiful music. So 
her party turned into a musicale. 

Gabriella Birell, her sister, wore a 
chocolate-colored chiffon with long, cling- 
ing lines and a wide shirred belt of the 
same material. 

(Please turn to page 106) 

Minna Gombell at the luncheon 

Mrs. Blanche Mclntire gave for 

Joan Bennett. 







Photo by Potoolny 



63 



Smart New Accessories 

for 

"he School Wardrobe 




Au I 55 — Practical schoo 

bag for boys or girls is 

easily made at home. 



Au 1 57 — Make this attractive 

play apron from unbleached 

muslin and seambinding. 






V 




Turn to page 112 for di- 
rections for obtaining pat- 
terns described here. 



64 



The New Movie Magazine, September, 193Z 




Jill Esmond and her husband, Laurence Olivier, go in for Japanese cooking. 



Let's try SUKI-YAKI 



TO Jill Esmond and Laurence Olivier go the gold 
inlaid chop sticks for discovering how to make 
Suki-yaki, fried shrimp, curried crabmeat and 
Sunomono in true Japanese style. 

Jill and hubby, Laurence, were speeding along Wash- 
ington Boulevard toward the beach for a breath of air 
after a long day at the studio, when they suddenly dis- 
covered they were very hungry. Jill's keen eye lit upon 
a Japanese Inn. "Let's try it," she urged, and Laurence 
agreed. 

So in they went. Looking over the menu, Laurence 
said, "We have no idea what it's all about, so let's try 
one of everything new." 

Jill laughed and said, "Oh, yes, we don't want to miss 
anything." So the two made an adventure of it. Jill 
insisted on knowing just how everything was made. 

"We had to come all the way to Hollywood from good 
old England," says Jill, "to taste Japanese food. First 
we ordered Chicken Suki-yaki, and to our amazement 
a little gas grill was brought in and put up in the cen- 
ter of the table, while a heavy pan just filled to the brim 
with peculiar looking vegetables and topped with thin 
slices of chicken was placed on the grill. This mixture 
was cooked right under our noses and before our very 
eyes. The aroma of sizzling food was almost more 

The New Movie Magazine, September, 1932 



than we could bear! 
"Then bowls of rice were 
brought in, with little cov- 
ers to keep it hot; tea, 
served in the charming lit- 
tle tea pots and handleless cups, and then a side dish 
of Sunomono. 

"It was all delightfully different and interesting to 
Laurence and me. We decided then and there to find 
out how it was all done and to try some of these queer 
concoctions on some of our friends some evening. 

"Odd, and unusual menus are all the rage in Holly- 
wood these days and I believe we discovered the oddest 
and most unusual right there in that charming little 
Japanese Inn. The proprietor, a very polite and eager- 
to-please native of Japan, was more than flattered and 
delighted to give me his recipes." 

Suki-yaki, it seems, can be made out of beef or 
chicken, and it must be mixed and cooked right at the 
table while one is eating the soup course. Jill had it 
all down in black and white and here is how you make it: 



2 medium Spanish onions 
2 bunches of scallions 
4 celery stalks 

1 canned bamboo shoots 

2 sq. beef suet or butter 

1 clip beef or chicken stock 



J4 cup soy sauce 
3 tsp. granulated sugar 
1 sq. piece of bean curd 
8 oz. can mushrooms 
Yz lb. sirloin steak sliced paper 
thin, or chicken sliced thin. 



Skin and cut onions in very thin slices. Remove 
leafy green tops, roots, and outside skin from scallions, 
and cut them in three-inch {Please turn to page 109) 



65 




BY JOHN EDGAR WEIR 

GENE KARDOS is always sure of turning out a 
headliner and his new one is no exception. "My 
Extraordinary Gal," is the title and it is one 
peach of a tune. Here is a band that always 
gets plenty of rhythm in any number it records, and 
this is a disc both entertaining to listen to and easy to 
dance to. Chick Bullock sings the vocal. 

The other side, also by Gene and the boys is a faster 
tune, "When Nobody Else Is Around," and this side is 
just as good. Again we hear Chick Bullock doing the 
vocal honors. (This is a Victor record.) 

"LJERE is a concert jazz record that is really sorae- 
*-*■ thing to talk about. It's 
the old favorite, "Washboard 
Blues." Hoagy Carmicheal's fa- 
mous blues classic, played for us 
by the Casa Loma Orchestra, 
with Connie Boswell doing the 
vocal. This is certainly an ex- 
cellent record of a great tune, 
and should have a tremendous 
sale. The instrumental work is 
very good, indeed, and there 
couldn't have been a better 
choice than Connie Boswell to do 
the vocal work. 

The other side is a medley of 
four Indian Love Songs made up 
of Kasmiri Love Song, Less 
Than the Dust, Temple Bells, and 
Till I Wake, played for us by the 
Casa Loma Orchestra. Al- 
though this band is generally 
identified with hot music, you 



THE MONTH'S BIGGEST 
HITS 

"MY EXTRAORDINARY GAL," fox 
trot — played by Gene Kardos and 
his Orchestra — Victor. 

"WASHBOARD BLUES," concert- 
played by Casa Loma Orchestra 
with Connie Boswell — Brunswick. 

"I CAN'T FORGET," fox trot- 
played by Ted Black and his Or- 
chestra — Victor. 



have a chance here to see what they can do with the 
semi-classic, played in concert style. The result is 
gratifying and we should hope for more such de- 
partures. (This is a Brunswick record.) 

OUR old friend, Teddy Black, is still with us and 
turning out some mighty good records. His latest, 
"I Can't Forget," is a typical Black tune, smooth and 
easy going, staccato trumpet work with a solid sax 
background. Here is a band that is surely up and 
coming. The pleasing vocal is sung by a trio from the 
orchestra. 

The other side is also by Teddy and this time we 
hear, "I'll Get Along Somehow." There is no reason 
why you shouldn't like this one, too. (This is a Victor 
record.) 

E all like a good waltz now 
and then, and here is one 
that is going to be a big hit. 
"With Summer Coming On," is 
the title and it's played by War- 
ings Pennsylvanians, who seem 
to get better all the time. This 
is all that a good waltz should 
be with an excellent vocal by 
Tom Waring and the vocal trio. 
The other side is by the same 
band, a fox trot, "Tell Me Why 
You Smile, Mona Lisa," from the 
picture, "The Theft of the Mona 
Lisa." You'll like this and the 
way the orchestra plays it. (This 
is a Victor record.) 



W! 



WITH SUMMER COMING ON," 
waltz — played by Waring's Penn- 



sylvanians — Victor. 



"| AZY DAY" is the next one, 
-*-^ and it's both vocal and in- 

(Please turn to page 112) 



66 



The New Movie Magazine, September, 193i 



SARI MARITZA is a fresh complexioned little English girl who has 
made herself interestingly different by sheer art of make-up. 
She has a round, appealingly frank countenance, which you 
might pass on any English-speaking street almost any day and 
never notice. It is significant that she has been touted as exotic, a 
potential Garbo, a Dietrich type. That is due to the canny smartness of 
this little English girl and her deep study of make-up. She graciously 
agreed to tell New Movie readers a few of her make-up secrets! . . . 
Here they are : — 

"Today, with all the cosmetic aids which every girl has at hand, 
almost any one can be interestingly different. But I should hesitate 
to advise every girl to try to be different with make-up — for it is so 
easy to overdo a very delicate and subtle art, and the minute a girl 
overdoes make-up she has lost a lot of her own individuality and exactly 
what she is seeking — interesting appeal ! 

"First, I would advise sitting before your mirror and studying your 
every feature, from every angle. This may take days, weeks or even 
months before you have discovered every flaw and good feature which 
you own. But this you must know before you can intelligently work 
out the individual make-up for your own personality and your own face. 

"A girl with an exotic, mysterious, different sort of personality to 
start with, should have an easier time than a girl with an ordinary 
every-day sort of face appeal. But this girl is in danger of overdoing 
her eyes — her lips — and making herself simply ridiculous and cheap 
instead of bringing out her already different appeal by just a few deft 
touches to her already interesting eyes, hair and facial make-up. 

"However, there is no space in this article to speak of every type 
of girl, and I do not believe any one person is capable of advising every- 
one with utterly different facial contours and coloring, how to make 
themselves interesting. (Please turn to page 106) 




SARI MARITZA 

Gives 

Her Make-up 

Secrets 



By 
ANN BOYD 




"Eves are the most responsive, alive and 
interesting feature of the face," says 
Sari Maritza. Here she is shown elon- 
gating and framing her brown eyes 
with soft brown eye shadow. She recom- 
mends gray-blue shadow for blue eyes 
and gray shadow for gray eyes. Mas- 
cara should be applied the full length 
of the lashes, but sparingly, so that it 
is not sticky or heavy. 



At the left Miss Maritza has been 
snapped applying lip salve with a brush 
to give her lower lip a fuller effect. If 
you look closely you will see the added 
depth of color she has just placed at the 
edge of the lip. The full lower lip is con- 
sidered very distinctive at the moment, 
and may be had even by the thin-lipped 
with careful application. 






The Neio Movie Magazine, September, 1932 



69 



In planning the bathrooms for our Colonial house we can have the 
charm of the old fashioned — yet the convenience of the modern. 



A tiled wall 
and floor are 
most practi- 
cal for the 
family bath- 
room. 




- i» » 



£ *- . , _ 



' If 

- L 






»r%d 



V 



Renderings 

by 

A. Thornton 

Bishop 



flHnuk,.^ 



A Modern Bathroom 
for a Colonial Home 



BEFORE we plan the other rooms of our house 
we must consider the bathrooms. As much a 
part of the decorative scheme as any other room 
they must be planned in detail when we are 
building the house. 

The first thing to consider of course is the plumbing 
installation. For this type of house we must keep it 
as simple as possible. All of the plumbing installation 
can be divided into three parts: the fixtures, the fixture 
trimmings and mechanical parts, and the valves and 
fittings behind the walls. Quality in these, and com- 
petent installation, assure plumbing satisfaction and 
true economy. 

So much has been done within recent years toward 
modernizing and beautifying plumbing fixtures that 
with careful planning and very little expense our bath- 
rooms can be as decorative as any room in the house. 

After the plumbing has been satisfactorily taken care 
of we can proceed with our decorative scheme. 

Let us take the master bathroom first. For the fix- 
tures, a soft shade of green, for the walls, a waterproof 
paper, with a peach background and a small floral de- 
sign in green and rose. The woodwork could be 
painted green to match the fixtures. For the floor we 
would suggest a plain dark green linoleum with a small 
oblong varie-color hooked rug to break the monotony. 
The window and shower curtains could be of rubberized 
moire also in green. To carry out our color scheme of 
peach and green we should select our towels, bathmats 
and accessories so as to be in harmony. You can buy 
them now so inexpensively in all the pastel shades. 

Since the larger bathroom will be shared by more 
people and by the younger members of the family it 
should be very practical. Because of this we would sug- 
gest tiling. Blue tiling to the dado and yellow paint 
from there to the ceiling would be most attractive. The 
woodwork could also be painted yellow. A blue and 



yellow checkered tiling on the floor would carry out the 
scheme and at the same time be most practical. With 
the plain walls in this bathroom we can use figured 
window curtains, the shower curtain might also be of a 
figured material. Waterproof chintz, in a small pattern 
of blue and yellow, would be effective. An oval rag rug 
in dark blue would be appropriate for the floor. Here 
again if we keep our towels and accessories in harmony 
we will have a charming up-to-date bathroom. 

_ In Colonial days we know very little thought was 
given to the bathroom. A bath was a mere necessity 
then and absolutely no attention was paid to its luxury. 
In some countries in Europe this idea is still in exist- 
ence but as everything else in America has progressed 
modern plumbing has taken its place among the present 
day achievements. 

It is no longer an unattainable luxury to have two or 
more bathrooms in your house or to have bathrooms 
that are as carefully planned and as attractive as any 
other room in the house. 

Among the most recent developments in modern 
plumbing is color in the bathrooms and fixtures in 
color. Our bathrooms need no longer be monotonously 
white. They can be planned and executed in color to har- 
monize with the adjoining bedrooms. Colored fixtures, 
of course, cost more than white but still the price is not 
prohibitive and the charm is lasting. The beauty of 
color adds nothing to the cost of valves and fittings and 
pipes, nor to the installation cost, and further, colorful, 
well-planned bathrooms will undoubtedly add to the sale 
or rental value of the house. 

The wall and floor treatment of the modern bath- 
room has unlimited possibilities. Waterproof papers 
and chintzes in charming designs have taken the place 
of the imitation block tile paper that used to be so prev- 
alent. For the modern bathroom floor smart linoleums 
in lovely colors have been especially designed. 



10 



The New Movie Magazine, September, 1932 



sis* 



'JVVCl 




, , ue±- . • . bust I IX U L / 

IO' now buys ' j ^ 3 Quality 

In Convenient Sizes 







PARK & TILFORD 



NEW YORK 



PARIS 



"AO 



L^S-^jcluaJu/ c^tucIa. 



CLEANSING CREAM • COLD CREAM • SKIN TONIC 

The New Movie Magazine, September, 1932 



The only Beauty Aids at 1 0c 
that give Proof of Quality! 

Famous Chemists report Faoen 

equal to $1 to $3 brands in 

fineness and purity. 

Naturally, you want proof for such a startling 
statement. And here it is, from the report of 
a famous Research Laboratory: 

after a complete chemical analysis we 
have found that every Faoen product 
tested is as pure and fine as products 
of like nature sold for $1, $2, and $3. 

Behind this proof is the additional assurance 
of the name Park & Tilford ... a name that 
has stood for quality for nearly 100 years. 

Use only the best beauty aids . . . your love- 
liness demands that protection. But now 
instead of spending $1 to $3, buy Faoen 
Beauty Aids in convenient sizes at 10c ... of 
equal fineness and purity. The saving will 
mean extra "pretties" for you this year! 
Every Faoen product 

has received the Good 

,, , , ... . lBureauqfFo'ods.Sanitation] 

Housekeeping Institute \& mi Health" 

seal of approval. M»°g«K^c «*£> 

1 0c each at F. W.Woolworth Co. Stores 




LOTION • FACE POWDER • ROUGES 



PERFUMES 



i 



71 




Jean's New House 



A New 



Photo h v si. (i. Rahmn 

A snapshot of Douglas Fairbanks and Maria 

Alba, his leading woman in his co-operative 

Robinson Crusoe film, made in the South 

Seas, on a profit-to-all basis. 



(Continued from page 17) 

and Joel McCrea, who recently 
went native in a big way for "Bird 
of Paradise," daintily fingering 
teacups while they nibbled one- 
minute water-cress sandwiches. 

A brand-new Garbo story is the 
one that Richard Cromwell tells. 
Dick, as you know, makes life-like 
masks of all the stars by taking 
casts of their faces with plaster of 
paris. Meeting the Swedish siren 
at a select party at the home of a 
German director, he asked if he 
might make a mask of the famous 
features. "My Gott, it would ruin 
me. I would never be the same," 
she replied. 



Garbo Story . . . How George 
M. Cohan arranges . . . 

UOUSE FOR THE BRIDE: A week 

■*■ ■*• before they set their wedding, Paul 
Hern presented Jean Harlow with a 
deed to his $60,000 home. 

Paul built the house about two years 
ago. It is not large but it sits in nearly 
four acres of beautifully landscaped 
grounds. It is of South German type 
of architecture, more Bavarian than 
anything else. 

LJOW HE DOES IT! The secret at 
*■ *■ last is out. All those George M. 
Cohan tunes you have been hearing for 
the last forty years have been com- 
posed on a contraption that is nothing 
short of a cross between a zither and a 
five-cent slot machine. 

George M. had the implement shipped 
out to Hollywood to be used in com- 
posing the tunes for his Paramount 
pictures. 

He can't play a piano. He just picks 
the notes out with a diffident thumb 
and forefinger in the key of F sharp. 

By pulling a crank on the side of the 
gadget the notes are transposed — aw, 
well, you know what we mean. Write 
us a postcard and we'll have Rube Gold- 
berg send you a blueprint. 

j^THEL'S NEW HOUSE: Ethel 

*-* Barrymore has taken the house in 
Benedict Canyon formerly occupied by 
P. G. Wodehouse. 

It was from this house that Wode- 
house departed to issue his now famous 
statement about the motion-picture 
business — the one in which he said he 
had been paid more than $100,000 a 
year to do nothing. 

Where most Beverly Hills' houses 
strive for one patio, this one has three 
and one of them is large enough to 
accommodate a big swimming pool. 

ERELY MOVES A YARD: Do- 
lores Del Rio moved her whole 

(Please turn to page 74) 



M 



ft: Virginia Bruce, 
Gilbert's fiancee 
leading woman 
s new picture. 





At right: Lewis Stone, 
hurrying back to the set 
of "Unashamed," after 

a studio lunch. 
Photographed exclusively for .Vac Movie Magazine 



Photographed exclusively lor New Movie Magazine 

Our cameraman caught these two resting between scenes, sitting on the steps of one 
of the M-G-M stages — Maureen O'Sullivan and Norman Foster. And from Norman's 
expression you'd never believe he's sitting right next to one of the most popular girls 

in Hollywood. 



72 



The New Movie Magazine, September, 1932 



HOW and WHERE do you 

buy your (groceries? 




For your courtesy in answering these questions 

you may choose any three of the Tower Food 

Circulars listed on this page* 



TOWER FOOD CIRCULARS 

Check the three you prefer and 
we will send them promptly. 

The Right Way to Buy Food 

Warm Weather Dishes 

Camp and Tourist Cookery 

Foods Men Like 

Fruit Recipes 

Spring Parties 

Cooking for Two 

Favorite Desserts 

Holiday Parties 

Your Best Thanksgiving Dinner 

The Perfect Summer Party 

Feed Your Children the New Way 

Sally Jane's 21-Day Diet 



1 Where do you buy your groceries? 

a Name of Store , . . , 

b Street 

c City 

2 Why do you buy there? 

a Nearness to your home 

b Price 

c Quality of Groceries 

d Service 

3 How do you usually buy? 

a Visit the store yourself. , 

b Order by telephone 

c Send a member of the family 

4 Any remarks on how you select the foods 

for your table: 



T \ 7E'D like to go food shopping with Tower 
" * readers. We know you like to cook and 
eat good things because you have been so in- 
terested in Tower cook books and Tower 
food circulars. Literally hundreds of thou- 
sands have gone into Tower homes. But we'd 
like to go in spirit to the grocery store with you 
to see as a thrifty housewife just where and 

The New Movie Magazine. September, 1932 



how you buy. The questions listed above 
will take only a few minutes to answer and for 
your courtesy you will receive three of the 
food circulars on the list quite without 
charge. They will be forwarded promptly. 

GROCERY STORE EDITOR 

TOWER MAGAZINES, Inc. 

55 Fifth Avenue New York 

73 



I 






Hollywood Bandwagon 



front yard at the beach up to her 
Beverly Hills home. She must have 
her sand for sun baths, BO two trucks 
picked up her Malihu beach front yard 
and hauled it to her home and dumped 
it near her swimming pool. Now 
Dolores is depending on Mother Na- 
ture and Neptune to get together and 
replenish her beach home's front yard! 

C\\Y AND JOEL: Fay Wray says 
*■ she believes perfume is the most in- 
dividual and characteristic touch a 
woman can possess. Therefore she 
changes her perfume for every role 
she plays. 

Different perfumes remind her of dif- 
ferent roles she has played, and she is 
afraid that, surrounded by the perfumed 
breezes of the character she played be- 
fore, she might take on some of that 
character's personality, for her new 
role. 

"Ah, me!" sighed the clown Joel Mc- 
Crea, "I need's must smoke a different 
brand of cigarette with each role. Now, 
I know what has been interrupting my 
genius — it's the ghost of my former 
parts still hanging around my brand 
of cigarette. When I run out of new 
brands I must stop acting — that's all!" 

UOW IT ALL HAPPENED: Out of 

-'■•'■small little kindnesses and tiny 
thoughtfulness come great deeds and 
great events! 

If George M. Cohan had not tipped 
a messenger boy fifty cents, and had 
not noticed his trembling admiration 
as he received it, we might never have 
had a George Bancroft. 

Now with the two Georges on the 
same lot at Paramount the story is 
going the rounds. George Bancroft 
was the messenger boy who received 
the 50-cent tip from George Cohan, 
the actor. Wide-eyed and excited he 
eagerly told Cohan he wanted to be an 
actor more than anything in the world. 

Cohan told him to look him up if he 
came to New York. The boy did, and 
appeared in several Cohan musicals, 
finally leaving for his chance in Holly- 
wood. 

And my dear, you woidd have 
died the day Greta Garbo and 
Shri Meher Baba, the Hindu mys- 
tic ivho hasn't spoken for seven 
years, met at luncheon at the 
Hollywood Roosevelt. 

The Hindu finally ivon, for he 
had a secretary who could tell the 
waiter what to bring while Garbo 
had to break her silence to order 
for herself. 

A ND THEN THEY MADE UP: 

■^*- The real story back of the recon- 
ciliation of Hoot Gibson and Sally 
Eilers is almost as dramatic as one of 
those fast rides Hoot makes in his 
pictures to rescue the girl. 

Sally's mother and father had just 
been hurt in an automobile accident. 
Her aunt had died the day before. She 
returned from the hospital to find her 
house in terrible disorder. Her negro 
cook, crazed with gin, had beaten up 
the maid, broken up furniture and, 
armed with a long knife, had backed 
into a corner, defying the world. 

While Sally and the maid stood par- 
alyzed with fear, Hoot strolled in. 



(Continued from page 72) 

Well, it was just like the old cavalry 
troop, the flag flying, dashing to the 
rescue of the covered wagon. 

TpALKING MONEY: Joseph P. Ken- 
■■• nedy, who used to finance Gloria 
Swanson's pictures, is said to have 
come out to Hollywood offering $3,000,- 
000 in cash "and a lot more where that 
came from," if Greta Garbo would 
agree to make two pictures a year for 
him. 



MEALS FOR TWO 

First aid to the home- 
maker who has to cook for 
herself and someone else 
is contained in the set of 
looseleaf circulars pre- 
pared by our cookery ex- 
perts. Send ten cents to 
Rita Calhoun, care of the 
New Movie Magazine, 55 
Fifth Avenue, New York, 
N. Y., and these helpful 
circulars will be mailed to 
you. 



NOT L O S T— S T R A Y E D : After 
George M. Cohan had been in Los 
Angeles three days he decided to walk 
from the Ambassador Hotel to Para- 
mount studio. 

The distance is about three miles 
but had not Cohan resided in Los An- 
geles in 1905? And had he not been 
here again only twenty-two years ago? 
And anybody that says the George M. 
Cohan legs are any less sturdy or 
agile — 

Well, to make a long walk short, 
Georgie, accompanied by his valet, 
started out. 

They walked and walked and finally 
had to admit to themselves they were 
lost. 

Approaching a young man mowing 
a lawn, George said: 

"Say, buddy, can you tell us the di- 
rection of the Paramount studio?" 

"Well, that's a long way from here," 
the young man began, dubiously. 
"You're apt to get lost. You'd bet- 
ter " 

"Never mind that lost stuff," cut in 
George a bit truculently. "We ain't 
lost. You just tell us the direction and 
we'll get there." 

The young man told them and they 
set out again. 

An hour later, George M. Cohan and 



his valet approached a young man mow- 
ing a lawn. 

"Say, buddy " Cohan began. 

The young man looked up, a bit sur- 
prised and then said coldly: 

"I thought you said you weren't lost!" 

When Jackie Cooper returned 
to Hollywood from an eight-weeks 
vaudeville tour they practically 
turned out the town to meet him at 
the station. 

Jackie accepted all the attention 
with a preoccupied air. Finally, he 
began to fidget. When the photo- 
graphers suggested, pictures, Jackie 
said : 

"Well, all right, but hurry up. 
My dog, 'Dink,' has been sick and 
I gotta get home to see him." 

T UCK IS LUCK : Phyllis Fraser 
*— lived in Oklahoma City, which is a 
considerable distance from Hollywood. 
Yet she had heard enough about the 
movies to want no connection with them 
other than that of being a fan. 

So it was that she came to talkie 
town to visit her cousin, Ginger Rogers, 
whose brilliant red head is frequently 
seen on the screen. 

Called for a test at R.K.O. studio, 
Ginger naturally took her guest along. 

Before Phyllis left the place, she had 
been signed to a contract. 

She is nineteen and beautiful — and, 
what a figure! 

HpHREE BIG THRILLS: Mervyn 
*■ Leroy, Warner Brothers' young di- 
rectorial ace, has had three big thrills 
in his life, with Gloria Swanson pro- 
viding them all. 

When Mervyn, then eighteen, de- 
serted the variety stage and came to 
Hollywood as an extra to win a foot- 
hold in the movies, he glimpsed Gloria 
Swanson, already a star and the wife 
of Wallace Beery, and fell madly in 
love with her. The beauteous one, how- 
ever, lived on in ignorance of Mervyn's 
palpitating heart. 

The youngster's blood-pumping organ 
attained a machine-gun speed when he 
was cast in his first "bit" — the role 
of Gloria's brother in "Prodigal Daugh- 
ters," one of her early vehicles for 
Cecil B. DeMille. 

Twelve years had elapsed when 
Gloria signed him as her director in 
"Tonight or Never," one of her most 
successful talkies. 

"Will you come to London on your 
own terms, and direct me in 'Perfect 
Understanding?'" read a cablegram he 
received from her the other day. 

And because of Hollywood's demands 
for his services, Mervyn declined the 
offer! 

CHORT SUBJECTS: Spencer Tracy's 
^ polo game has improved to the point 
where they let him act as timekeeper. 
. . . Explaining her rapid speech, Tal- 
lulah Bankhead says it's her timidity 
does it. . . . And you should see that 
new brooch of Joan Blondell's — one 
hundred and twenty-two small dia- 
monds, two rubies, an emerald and two 
sapphires. . . . Russ Saunders, assist- 
ant director, and "Bullet" Baker, now 
in the first-aid department, both former 
Southern California football stars, now 
working at Fox. . . . Talking of hav- 



74 



The New Movie Magazine, September, 1932 



Hollywood 
Bandwagon 

ing Pearl White talkie-ize some of her 
old thrillers. . . . Tala Birell buys all 
of her clothes in pure white, then has 
them dyed with colors she personally 
mixes. . . . It's John Barrymore, Sr., 
now, since John Blyth Barrymore, Jr., 
has arrived. . . . Elissa Landi writing 
a new novel. . . . Paul Muni, of "Scar- 
face," used to call himself Muni Weis- 
enfreund. . . . The William Powells have 
taken the hillside home built by Lita 
Gray Chaplin. . . . Patsy Ruth Miller's 
trying her hand at writing. . . . Once 
a misdirected match set fire to Groucho 
Marx's crepe-hair moustache; since 
then he's always worn a painted one. 
... In 1920 Hollywood had 71 studios; 
now you could find ten or twelve. . . . 
You will see Mina Penn in Warners 
"Life Begins" — now you'll know her as 
the widow of Robert Williams. . . . 
Charlie Chaplin came home to Holly- 
wood with literally hundreds of walk- 
ing-sticks, and the most important one 
of all swung by his Japanese valet, 
Kono. . . . Greta Garbo's traveling- 
name is Mrs. M. Larsen. . . . Anna 
Sten, the new United Artists importa- 
tion, is doing a Garbo: no social en- 
gagements, no photographers, no in- 
terviews. . . . 

MONKEY SHINES: Elephants, ba- 
boons, monkeys, ducks, and a reg- 
ular zoo filed down the United Artists' 
thoroughfare between the stages, every 
morning during the filming of Douglas 
Fairbank's modern Robinson Crusoe 
picture. 

One of the monkeys broke loose one 
morning and climbed up into Samuel 
Goldwyn's private office window and 
asked to be starred opposite Ronald 
Colman — or else. Samuel Goldwyn 
picked the monkey up with irate hands 
and toted him straight to Douglas 
Fairbanks' bungalow believing it to be 
one of Doug's pranks. But it wasn't, 
for he found a weeping little Italian 
begging Doug to do something about 
his Peppo! 

Peppo thumbed her nose at Sam 
Goldwyn and made a face at him from 
her owner's shoulder. "You see the 
monkey really doesn't know Hollywood 
— yet, Sam!" explained Doug. 

D EMEMBER THE RIB: Neil Ham- 
■*-^- ilton had to be careful in his love- 
making to Constance Bennett on 
her Warner Brother's picture, "Two 
Against the World." No rough cave- 
man stuff for Neil, but tender, heart- 
felt embraces with no body punch! 

You see, Neil broke several ribs in 
the picture before with Connie — (Oh, 
now please! Not in his love scenes! 
but playing polo.) 

"Remember the rib!" warns Archie 
Mayo, the director, when he goes into 
a love scene with Connie. 

"I've no wife in this picture," snorts 
Neil. 

pYCLES EVERYWHERE: Holly- 
^— ' wood is going cycling! 

There is going to be a series of 
cycles of pictures from all the studios 
this next year! There are twelve ex- 
ploration and adventure pictures sched- 
uled, all location pictures on odd spots 
around the world. 

There are five stories about Holly- 
(Please turn to page 76) 



...Youtt:! make it in about 5 min. 




wholesome, delicious dessert 

is a great help to mothers! 



rpiHE problem of "what to serve 
J- for dessert "without the tiresome 
effort of following a complicated 
recipe has been answered by Kre- 
Mel — America's New Dessert. 

Kre-Mel takes about five minutes 
to prepare and its economy is 
equalled only by its purity, quality 
and wholesomeness. 

There's plenty of Dextrose, the 
vital food element, in Kre-Mel — 
which explains why it is so good 
for growing children. And milk is 
used in preparing Kre-Mel, which 
makes it doubly nutritious. 



Many mothers add unprepared 
Kre-Mel to the milk they serve 
their children — which makes a 
delicious, refreshing beverage the 
youngsters like. 

Ask for a package or two of Kre- 
Mel today. 

4 SERVINGS PER PACKAGE 

4 FLAVORS 



CHOCOLATE 
COFFEE 



VANILLIN 
CARAMEL 




AT ALL GOOD FOOD STORES 



The New Movie Magazine, September, 1932 



75 



Hollywood Bandwagon 



wood being filmed now, including 
"Movie Crazy," the Harold Lloyd pic- 
ture, "Once in a Lifetime," "The 
Double," "Broken Hearts of Holly- 
wood," and the first to l>e finished, Con- 
stance Bennett's "What Price Holly- 
wood." 

There are four political pictures be- 
ing released. 

Two depression yarns and three 
prison stories are to be filmed. 

Seven radio-crooner stories, and sev- 
eral stories built around the careers of 
men. 

"Don't tell me the Chinese 
haven't inn/ sense of humor," said 
Richard Dix when he was working 
on "The Roar of the Dragon." 
"0)ic of the Chinese ivorking on 
the set tried to get over that old 
moss-back about how China iron 
tin war. 

" 'China have Japan looking 
silly,' he chuckled. 'One day 
paper say five thousand Chinese 
killed, ten Japanese wounded. Next 
day, six thousand Chinese killed, 
seven Japanese dead. Now, you 
know, Mister, Japan couldn't stand 
that — pletty soon Japan have no 
man left to fight!' 

"I belie re to this day he thinks 
I'd never heard that one before." 

OF THE THIRD GENERATION: 
When Wallace Reid, Jr., gets un- 
der way in his picture work he will 
represent the third generation of Reids 
to enter the motion-picture profession. 
His father, WalLy Reid, made his first 
appearance before the footlights with 
Hal Reid, Junior's grandfather, in a 
vaudeville sketch. They both went into 
pictures later. 

AND NEVER TIRES: Imagine, if 
■**■ you can, a woman sixty years old 
giving an all-night party only to step 
into a plane at three in the morning 
to fly east. 

She entertained ten guests at din- 
ner, followed by a theater party and 
then home for music until time to climb 
aboard the plane. 

The woman is Louise Closser Hale, 
to whom years apparently have no 
meaning. 

And just to think, all this time 
Zasu Pitts has been living right 
next door to Greta Garbo without 
bragging about it even a little bit! 

She gets to see the great Garbo 
play tennis, go horse-back riding, 
take sun ba-ba-ba — 

Somebody, please hush my 
mouth ! 

\\7"HERE TREES WEAR COL- 
vr LARS: Douglas Fairbanks tells 
us the Cocoanut trees in the South Seas 
wear clay collars! 

"Now Doug, be yourself!" says we. 

"Yes, and the reason they wear 'em," 
continued the unabashed Doug, "is to 
make the land crabs commit suicide!" 

By this time we had ceased to be 
careful so we opined heartily — "Oh, 
YEA?" 

"YEA," says Doug. "You see, a 
couple of big families of land crabs 
can ruin a whole cocoanut plantation. 
They are such huge, hard-shelled fel- 



(Continued (rum page 75) 

lows they are practically impossible to 
kill in sufficient numbers to count, so 
the natives found by putting clay col- 
lars around the trees just where the 
branches start, the crabs committed 
suicide! 

"They climb up the tree and out on 
the limb where they have spied their 
special cocoanut, clip it off with their 
claws and let it fall on the ground, 
then they back out and down the tree 
and when they feel the clay collar on 
the tree, they think they've hit the 
ground and let go the tree and fall 
and kill themselves!" 

(We visited the museum of natural 
history just to see if Doug was right — 
and he was] . . . Nuff said!) 

Saw George O'Brien at his Mali- 
bu house and he told us about a 
recent rum raid just off the Mulibu 
coast. He says that when the 
Coast Guard brought their spot- 
lights into play, in an effort to 
find the rum, runner, stars came 
rushing from every house and 
started taking bows. . . . They 
were all half asleep and stumbled 
out thinking it was a premiere 
opening. 

f^HATTERTON'S TIME OUT: Ruth 
^ Chatterton has a three-thousand- 
piece jig-saw puzzle she keeps locked 
in her study. Not even the maid is al- 
lowed in the room when the thing 
is spread out. Ruth had been working 
on her newest one three weeks when 
she left for Europe, and the room was 
kept locked during her absence. 




Pauline Starke hates dresses. She prefers to 
wear masculine trousers and one of those 
smart cutaway jackets you see her in here. 
She was caught by our photographer at 
Malibu Beach. 



The most amusing contest in 
Hollywood at the moment is the 
one between Tallulah Bankhead 
and Marlcne Dietrich over the 
affections of Dickey Moore. 

Tallulah gave him a boat that 
can do something like fifteen 7niles 
an hour in anybody's bathtub — 
even a DeMille bathtub — and Mar- 
lene gave him an electric train. 

TpHAT'S DIFFERENT: John Barry- 

•*■ more's collection of guns is without 
doubt the finest in Hollywood. They 
are all modern and they all work. 

"We don't need any guards," he said 
a few months ago, when so many mo- 
tion-picture people were hiring detec- 
tives to protect their children. "We 
have enough stuff up here to take care 
of ourselves." 

But, the other night there was a 
burglar scare on Tower Road, where re- 
side the Barrymores, John Gilbert, 
King Vidor and others and — 

The Barrymore house remained 
lighted until dawn and a regular army 
of guards showed up from nowhere. 

'"THIS AND THAT: Al Jolson's liv- 
■*■ ing at Hollywood's Town House 
and driving a $26,000 automobile — and 
they say there's a depression. . . . Wil- 
liam Dieterle, who directed Doug., Jr., 
in "Son of Russia," always wears white 
gloves while megaphoning, and we 
want to know why. . . . George O'Brien 
still adding polo ponies to his already 
well-filled stables. . . . Lilyan Tashman 
at Malibu strolling under a hat as big 
as a bridge table. So far she's dis- 
played fourteen different styles of 
beach pajamas. . . . Seems to us the 
newspapers took an unfair slap at 
Adolphe Menjou when they printed a 
story that his son was held for the 
death of a girl in an auto accident. 
The boy was Adolphe's first wife's son. 
. . . Kay Francis on the prospect list 
of all the hair specialists in Holly- 
wood — because her hobby is good-look- 
ing hair and everybody knows it. . . . 
Warren William's not superstitious . . . 
simply wouldn't buy a car from a sales- 
man who lighted three on a match. . . . 
George Arliss has never driven or 
owned an automobile. . . . Ethel Barry- 
more, arriving at the M-G-M studio, 
asked to have Garbo's dressing-room — 
and the studio gracefully declined. . . . 
El Brendel always uses his Swedish 
accent in public speeches, saying that 
when he makes grammatical errors 
they think it's part of the act. . . . Gary 
Cooper's leased Garbo's former house 
on Chevy Chase Drive. . . . Tallulah 
Bankhead likes to crack mirrors . . . 
says it's lucky. . . . Aline MacMahon, 
leading woman in the stage version of 
"Once in a Lifetime," signed to do 
Universal's film version. You saw her 
in "The Mouthpiece" and "Five Star 
Final." . . . Tom Mix, his first cow- 
opera a moneymaker, has signed to do 
six more for Universal. . . . Lila Lee, 
fully recovered, back in films, and 
weighing one hundred and eighteen — 
more than she ever weighed before. 
. . . Wallace Beery airplaning to Utah 
to fish — where fish are fish. . . . M-G-M 
to star both Gable and Haines this next 
season, the first time for Clark. . . . 
And did you know that Cary Grant 
once worked for five dollars a day as 
a stilt-walker at Coney Island? 



76 



The New Movie Magazine, September, 1932 



Hollywood 
Bandwagon 



fjELLO TO MARY: Ran into Mary 
x x Brian on 54th Street in New York 
the other afternoon and really Mary 
has the prettiest eyes we've seen in a 
long while. They're such an enchanting 
shade of blue and Mary knows her hats, 
too, when it comes to showing off the 
color of her eyes. She was wearing 
one of those little French models, in 
blue, with a perky tilt to one side. 

Mary's mother, Mrs. Louise Brian, 
was with her and they made an ador- 
able picture of the sort of understand- 
ing companionship every girl would like 
to enjoy with her Mom. 

VES, NICE: It's grand to have an 
uncle who owns a popular Broadway 
restaurant, don't you think? Because 
if you're a movie star you don't have 
to go many places to be seen and ad- 
mired. Like Nancy Carroll, who just 
drops into her uncle's restaurant now 
and then and accidentally meets every- 
body in town. Billy La Hiff, which 
doesn't sound very Irish but really is, 
is known for his corned beef and cab- 
bage fare, so you can imagine why 
the crowd goes there when you can 
get very good near-beer with it. 
Nancy's uncle is a genial good fellow 
and when Nancy comes in to order 
her favorite dish it's always on the 
house, besides meeting her friends. 
Nice, what? 

D ANSOM INSURANCE: With all the 
^kidnaping rumors prevalent in 
Hollywood, insurance agents have been 
offering policies that will cover victims 
for ransom in case their children are 
stolen. Agents and studios, however 
have instructed their stars and actors 
not to take advantage of these offers 
as these policies might be a tip-off to 
criminals. Gossip has it that there is 
a * g t? n £ that , ha s been lining up some 
oi Hollywood's better knowns as pros- 
pective victims with the result that 
steel doors and barred windows are in 
order for many. 

JOAN IS WISE: Joan Blondell is one 
~ actress who has never lived in a man- 
sion, a large house or a fancy apart- 
ment. She lives in a very modest flat and 
likes it. She drives a Ford, and likes 
that too She doesn't put on half the 
flash that Hollywood High School girls 
do and she's one gal who will probably 
have something in the bank when all 
the shouting dies down. 

P)INNER-PAIL PLUTOCRAT: Ten 

years ago when Chester Conklin ap- 
peared daily carrying his tin lunch pail, 
many of the so-called big shots did a 
little laughing up the sleeve. Today 
the one time big shots are looking with 
envious eyes at the fifteen room home 
which perches high on the side of Look- 
out Mountain. It is the home of the 
lunch pail carrier. Figuratively speak- 
ing Chester still carries his lunch pail. 
He and his wife, unaccustomed to so 
much room utilize but three or four 
rooms of the French mansion. Domes- 
tic help comes in but once a week to 
nelp clean and Chester does his own 
gardening. The early part of the Conk- 
ims life was none too easy. Frugal 
living was a necessity. They have 
(Please turn to page 78) 




How they feel 
What they say 



the society woman 

"The tell-tale trace of perspiration odor on her person has 
cheated many an otherwise charming woman out of social 
success. What a pity — when daintiness is so easy to attain, 
with Mum!" 



the college girl 

"Certainly, underarm odor is cause for black-balling. We 
girls all play safe by using Mum. It's the quickest, easiest 
way and lasts all day. We put on Mum, slip into a dress 
and off to class." 



the home woman 

"You never can tell who will drop in and surprise you on a 
busy morning, so I just use Mum when I dress. I like it be- 
cause it is soothing to my sensitive skin." 



the business -woman 

"Underarm odor has lost many an efficient woman a good 
job. I take no chances. I use Mum every morning. It's 
quick, harmless to clothing and I can use it right after 
shaving." 



the sportswoman 

"Goodness knows, I'd be safe from perspiration odor if 
bathing could do it. I like Mum because it destroys odor 
without in any way interfering with perspiration. I keep 
Mum in my locker." 



1 







MUM 

TAKES THE ODOR OUT 
OF PERSPIRATION 



AND THEY ALL SAY, "What we would ever 
do without Mum as a deodorant for sanitary 
napkins, we don't know. It's perfect for this." 
Mum Mfg. Co., Inc., 75 West St., New York. 




The New Movie Magazine, September, 1932 



77 



Hollywood Bandwagon 



never completely overcome the early In- 
fluence. i.<t's ml) it in a little to the 
early Bcoffera that the lunch pail was 
the foundation of a very comfortable 
fortune. While the Conklina live high 
.in the mountain side, far above the 
reach of installment collectors and 
financial worries, some of the others are 
finding OUl what the hack streets of 
Hollywood really look like. Another 
thine; — next time you read of some 
movie personality going to the grave 
penniless, don't think of the Chester 
Conklins; they'll still he up there look- 
ing down. 

I^)RY NEWS: Greta Garbo, Joan 
*-^ / Crawford, Clark Gable, Norma 
Shearer, Bob Montgomery, Ramon No- 
varro and the thousand or so employees 
on the M.G.M lot certainly drink a 
mighty lot of water if the studio's 
Nearly water bill of $25,000 is any 
criterion. Somebody please page Mr. 
Volstead . . . 

tfXPENSIVE TRUNK: Be it hereby 

*~ * known to all and sundry that 
Roland Young is as airy off the screen 
as he is on. Recently, when he de- 
parted the Coast for England and was 
securely ensconced in his compartment 
on the 3,000 mile trek to New York and 
the ship, he discovered he had forgotten 
to check his trunk through. Frantic, 
he wired his agent: WHERE IS 
TRUNK? Just as frantic, the agent 
dropped all business to Sherlock Holmes 
that trunk. To his horror, he found 
the trunk had never been removed from 
Roland's Beverly Hills house. So it 
would arrive in New York in time to 
sail on the boat with the Young man, 
the agent sent it via airplane at a cost 
of $190. Roland, delighted to receive 
it, wired joyous relief: TRUNK AR- 
RIVED. ALL IS FORGIVEN! 

HO, HUM: Use the salt-shaker on 
this one. About Lew Ayres. Who 
does his star gazing away from the 
studio. Who knows his astronomical 
Venus; who, like every amateur as- 
tronomer, has an impassioned ambi- 
tion to discover a new star or some- 
thing dizzying around in the firma- 
ment. 'Tother eve., the Ayres' house- 
hold was precipitated into a wild up- 
roar. Lew, studiously alone on the roof 
with his telescope, focussed on what 
he believed to be a new star. Lew 
yelled for his wife, Lola Lane. Lola 
came a-running. Lola stopped, listened, 
looked. She frowned, for Lola, a nat- 
ural brunette before she turned 
blonde, has a habit of returning to 
brunette doubts. Tensely, beneath 
Lew's anxious regard, she walked 
around to the end of the telescope. 
That walk k.o.-ed Lew's discovery and 
gave anti-climax honors to Lola. For 
wriggling lazily on the glass of Lew's 
expensive telescope was a glow worm. 
Voila, the chagrined Lew nipped his 
"star" into the garden. Moral: Never 
trust a worm. 

THIRST PERSONAL APPEARANCE: 

*■ Sid Grauman, Movie Theatre mag- 
nate, says the first time a motion pic- 
ture actor ever made a personal appear- 
ance in a film theatre was twenty-two 
years ago in San Francisco. 

Sid, Mabel Normand, Bronco Billy 



[Continued from page 77) 

Anderson, Charlie Chaplin and Roscoe 
Arbuckle were walking down Market 
Street one evening when they came 
upon one of those little movie houses 
so common in those days. 

Unrecognized, Charlie and Roscoe 
strolled into the tiny lobby. Suddenly, 
Roscoe kicked Charlie and Charlie 
struck at Roscoe with his cane. Then 
they both fell down, bounced up, fell 
down again and were turning somer- 
saults and handsprings when the en- 
raged manager rushed out and called 
the police. 

Their identities undiscovered, the 
quintet hurried away but later the man- 
ager accused Sid of having instigated 
the brawl in order to break up his busi- 
ness for Sid also was running a little 
theatre on Market Street in those days. 



COLOR HARMONY 

Lips to match your frocks — 
and your complexion tones. 
Do you know exactly what color 
eye shadow, rouge and powder 
will bring out your best points? 
What rouge changes to make 
if you are wearing a red dress, 
for instance? This little Color 
Harmony chart will give you all 
the details of make-up you 
could wish for. Write to Ann 
Boyd, care of the New Movie 
Magazine, 55 Fifth avenue, 
New York, N. Y., enclosing a 
stamped self-addressed en- 
velope. 



THE GLAMOROUS THIRTEEN: Re- 
member Bessie Barriscale, Lillian 
Walker, Wanda Hawley, Dorothy Dal- 
ton, Louise Glaum, Olga Petrova, Olive 
Thomas, Valeska Surratt and Virginia 
Pearson ? 

Those are some of the names submit- 
ted by motion picture critics all over 
the United States in RKO-Radio's poll 
to determine the thirteen most glamor- 
ous stars in the history of motion pic- 
tures. 

One hundred critics submitted 119 
names. 

TOOK HER AT HER WORD: "You 
really should be in the movies," Ann 
Harding told John Schroyer, 22-year- 
old Westport, Conn., boy, a few months 
ago. 

Imagine her embarrassment when 
John appeared one morning at the 
Harding home with a young lady. 

"Well, here we are," said John. 

It developed that John and Helen 
Clarke Robertson had eloped, got 
married in Baltimore and come to 
Hollywood to try John's luck. 



Luck was good or bad, which ever 
way you want to look at it. Ann called 
their folks on long distance telephone 
and a few days later the youngsters 
were on their way back to the West- 
port home. 

GARBO AND HER FRIEND: In 
this Garbo-mad era, when the 
world's entire male populace is extend- 
ing open trunks to the glamorous 
Greta as parking places for her spare 
footwear, it might not be amiss to toss 
a gardenia boutonnier-e to Nils Asther. 
He's probably the only man who ever 
did — or ever shall, for that matter — 
order the Swedish flame to "quit pes- 
tering me!" 

It was three years ago that Nils 
proved the resistive powers of his 
heart. The Garbo-Gilbert romance had 
only just frozen. Max Stiller, her dis- 
coverer and former fiance, had died. 
Nils, her fellow-countryman and broth- 
er-graduate of a Stockholm dramatic 
school, had not yet succumbed to the 
charms of Vivian Duncan. 

It was a lonely, saddened and dis- 
couraged Garbo who sought out Nils 
in his bachelor paradise in the Holly- 
wood foothills, and poured into his ears 
her Swedish words of woe. Nils put 
his arms about the girl who had been 
his leading lady in Germany, dried the 
tears that trickled down her cheeks and 
whispered words of sympathy. 

"Now go back home and forget about 
it," he urged her. 

A day or two passed, and la Garbo 
returned. 

"I'm so unhappy," she sobbed. 

Once again Nils was gracious, but — 

Before the end of the week, Greta 
paid him another call. Her spirits still 
were in the depths, and her confidante's 
patience had reached the breaking 
point. 

"Greta," he finally exploded, "I've 
said and done everything I can to help 
you forget your troubles. You've got 
to quit pestering me!" 

Sure, they're still friends, and Greta, 
in her professional triumph, has for- 
given and forgotten. 

pOLLEEN A PROFITEER: Colleen 
VJ Moore is one of those fortunate few 
to profit by the recent Wall Street col- 
lapse. 

Al Scott, her new husband, directs 
the destinies of a brokerage firm in 
New York. When the dust of the most 
recent stock crash had cleared away, 
he found one of his clients had left 
him holding the sack to the extent of 
almost $100,000. 

Al sued, and won a judgment, but 
when he sought to collect, he discov- 
ered that the defendant's only remain- 
ing asset was a sailing yacht built and 
equipped for ocean cruising. 

The writer was. among those present 
at Colleen's Bel-Air mansion the day 
Al's agents wired him the vessel was 
his. 

"It's all yours, sweetheart," he said, 
handing the telegram to Colleen. "I'm 
going to have it sailed out here for 

"And we can go to the South Seas 
in it?" queried the star. 

"Certainly." 

"You darling," she cried, treating 
him to another kiss.- 



78 



The Neiv Movie Magazine, September, 1932 



Hollywood 
Bandwagon 

UATS OFF TO BEBE: For down- 
-*■ -*■ right grit in the face of peril, doff 
your hat to Bebe Daniels. 

When Gertrude Ederle won univer- 
sal acclaim as the first woman to swim 
the English channel, she came to Hol- 
lywood, and while here was Bebe's 
guest at the latter's Santa Monica 
beach home. Bebe, t6o, is a mermaid 
of no mean ability, and it was only 
natural that they should enjoy a dip 
in the Pacific. 

The pair raced out for a considerable 
distance, and were returning toward 
shore, when Bebe was caught in a pow- 
erful rip-tide beyond the second line of 
breakers. So strong was the current 
that she was being swept further out 
despite her strenuous efforts to make 
shallow water. 

Gertrude was within hearing dis- 
tance, and Bebe could easily have 
called for help, but — 

The film star remembered the crowd 
of newspaper folks lolling on her front 
porch. 

Should the world's greatest feminine 
swimmer rescue her, it would crash the 
front pages. She was afraid the public 
might chalk the incident up as a 
"cheap publicity stunt." 

Mustering her last ounce of strength, 
she determined to swim or sink. She 
won after a terrific struggle. 

Gertrude, noting the exhausted con- 
dition of the actress when they reached 
the sand, asked why she hadn't re- 
quested aid. 

"I'd rather have drowned, under the 
circumstances," she replied. 

They tried it again the following day, 
this time without an audience. The girl 
who had mastered the channel was 
caught in the same rip. 

Bebe had to assist her into shallow 
water ! 

THE Bennett and Markey family 
seem to be settling down to absolute 
wedded bliss! 

They are very much in love, and Joan 
knew her mind this time! She and her 
first husband met in Europe, ran away 
and married — and didn't live happily 
ever after! . . . Just a couple of kids 
eager to have everything all at once — 
without understanding what anything 
v/as all about! 

Now Joan's baby is four years old, 
and Joan is just twenty-two, though 
she still looks sixteen. Joan's baby 
seems to heartily approve of Mother's 
choice and is highly delighted with her 
new daddy. She calls him "Daddy 
Gene" — and when she calls him, he 
jumps, and don't you think he doesn't! 

JOAN and Gene bought Warner Bax- 
ter's former Malibu Beach house at 
a big bargain, much to Warner's amuse- 
ment! 

Joan and Gene asked him, "Where 
can we find a house at Malibu?" 

"I'll sell you one, if you like it," 
quickly answered Warner. He quoted 
them a price several thousand lower 
than he had ever thought of offering it 
— he claims he doesn't yet know why — 
and they liked it and took it within a 
few hours! 

"That's the time even a woman 
wouldn't have had time to change her 
mind," chuckles Warner; "I can't 
(Please turn to page 80) 



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The New Movie Magazine, September, 1932 



79 



Hollywood Bandwagon 



think to this dav just why I priced it 
$4,000 lower than I paid for it! But 
they're errand folks and good nei^h- 

bors, and they never knew the differ- 
ence — so why not?" 

JOAN is the most popular girl on the 
Fox lot. Every one sings her 
praises, from the office boy to the high- 
est executive. 

She is such an excellent trouper that 
she rushed from one picture into an- 
other after she came out of the hos- 
pital, and made four pictures in three 
months, before she had a breathing 
spell and a chance to really get ac- 
quainted at home with her brand-new, 
much-enthralled husband. 

WANT to know what a movie star 
likes to do with her long eve- 
nings? 

Joan Crawford's favorite evenings 
are the ones in which she can slip into 
some lounging pajamas and after din- 
ner curl up in a big chair before the 
fire with a bowl of apples on one side 
and cracked nuts on the other. 

In her lap she will have either a rag 
rug in the making or some piece of 
sewing, and Bing Crosby will be sing- 
ing to her from the victrola in the 
corner — or Doug will read to her or 
sculp on his latest likeness — or they 
will quietly discuss his next story or 
hers, until far, far into the evening. 

JOAN has invented a clever idea to 
cover the painfully undecorative ef- 
fect, of blankets! 

You know, when you throw the 
spread back from the bed just before 
you crawl in at night? You know how 
sort of shockingly immodest the bare 
blankets thus disclosed appear? 

Well, Joan has been making soft 
silk gauze covers to throw over the 
blankets between the decorative spread 
and the blankets so that, when you toss 
back the spread, lo, a beautiful embroi- 
dered or cross-stitched gauze covering, 
quite as pretty as the spread is disclosed 
and the bed looks quite alluring! 

Joan has made them for all the beds 
in her home and has made several for 
friends who admired them, and now 
they have become quite the fashion in 
Hollywood film folks' homes! 

JOAN would never dream of eating a 
cracker, a piece of bread or starch 
in any form, but she is varying her 
strict diet with shredded wheat for 
luncheon these days! Quite a depar- 
ture from fruit salads and unsweetened 
tea for Joan. She is not quite such a 
splinter as she used to be. 

She has to keep that perfect figure 
for the screen, however, and any one 
who thinks the gorgeous svelt figures 
of the screen just come that way is a 
psychopathic case, according to Joan. 
They come by dint of sheer self-control 
and self-inflicted hunger strikes! And 
that's that! 

JOAN believes the secret of appeal 
and charm in a feminine wardrobe 
is color harmony. 

She always wears a complete en- 
semble of color scheme whether for the 
evening or for sport. If she wears a 
blue and white gown, she will carry the 
same shades in purse, hat, gloves, 



(Co)il hntrtl from payc 79) 

shoes, stockings and accessories — and 
Joan always looks smart. 

JOAN hero-worships with a depth 
and intensity which few people could 
duplicate. She has a drawer at home 
full and brimming over with articles 
by 0. 0. Mclntyre. She has cut out 
and saved every article written by him 
for a long time. 

"I am usually in such a rush in the 
mornings I cannot enjoy him as I 
should," explains Joan. "So I just cut 
out his column or any article of his I 
see and put it in this drawer. If I 
haven't time to cut it out before I rush 
off to the studio, my maid is instructed 
to cut it out for me. 




1 

•If 

V 

bljJ 


i it/a 



Harry Bannister is vacationing at Malibu. 
Since his divorce from Ann Harding he has 
been making no attempt to work, getting 
himself in shape for a fighting attack upon 
either the stage or the films. 

"Often evenings I am too tired men- 
tally even to rest comfortably, then it 
is I dip into the drawer and pull out a 
whole handful of O.O. Mclntyre clippings 
and sit in a comfortable chair before 
the fire and read them slowly. I love 
his writing because it is so human and 
real, and, to me, very, very restful and 
comforting — I don't just know why!" 

JOAN CRAWFORD has another hero 
— Bing Crosby ! She has a standing 
order with a music store to send out 
every new Bing Crosby record it re- 
ceives. 

Bing certainly must have that some- 
thing in his voice that "gets" to the 
ladies! Joan will not have any other 
records or music played on the set. 
She emotes only to Crosby stimulation. 

She owns one of those victrolas 
which play for one hour and twenty 
minutes at a stretch. Each evening 
when she is dressing, or resting, or sit- 
ting sewing she fills this machine with 
Bing Crosby records and lets it go — 
and when it stops, she fills it with more 
Bing Crosby records — if she has time 
to listen to more! That's what you 
call devotion with a capital D! 



JOAN and Douglas, Jr., have a budget 
system whereby there is no chance 
to cheat themselves. They have an 
official keeper of the purse, who gives 
each one twenty-five dollars a week 
for spending money — and not a cent 
more! 

Louis Blembel is this financial tyrant 
of the Fairbanks family. Louis is a 
very superior sort of man and Doug- 
las's and Joan's joint secretary and 
business manager. 

Joan and Doug strictly instructed 
Louis he must never let them overdraw 
on their spending money — and Louis 
doesn't — that is, all except Joan, some- 
times! But if the fair Joan were to 
coax and wheedle you for an extra 
package of cigarettes, saying (oh, quite 
contritely) that she has spent her 
whole allowance, what would you do? 
. . . Well, that's just what Louis does, 
too! 

JOAN and Douglas say the most 
treasured prize in their home is a 
death mask of Napoleon. 

There are only two in the world, and 
they possess one. Doug has made 
quite a study of Napoleon's life and 
thoughts; so intimately has he studied 
the man that he says the death mask 
has assumed the proportions of the 
death mask of a dearly beloved friend, 
and when he looks at it he has the 
weird feeling that he knew the man in 
life! 

GARBO is a dynamo of nervous en- 
ergy or a picture of complete relax- 
ation. After finishing a picture she 
spends whole days in bed, having her 
meals served there and reading con- 
stantly, or whole days lying in the sun 
in her enclosed garden, wearing only a 
bathing suit. She can lie for hours ap- 
parently without moving a muscle, 
completely relaxed. 

SHE loves orange juice and drinks it 
at regular intervals during the 
warm summer days. In colder weather 
she substitutes black tea with lemon or 
coffee, either black or with a little 
cream. 

THE dressing table in Garbo's stu- 
dio dressing-rooms is the largest 
one on the lot. Especially made for 
Garbo, its surface is heavy plate glass 
and its huge mirror is outlined in pow- 
erful electric light bulbs. 

The Garbo dressing suite consists of 
three rooms, two living-rooms and a 
dressing-room, with a connecting 
shower. In one room the hangings 
and furniture are of deep wine-red 
velour, in the other of royal blue velvet. 
The dressing-room itself has draperies 
of cretonne and enameled furniture of 
pale, cool apple green. 

GARBO is one of the world's for- 
tunate women. She doesn't have to 
diet. But she eats moderately and 
never between regular meals. Every 
noon, when she is working at the stu- 
dio, her luncheon tray is sent from the 
studio commissary to her dressing- 
room. It invariably contains a sand- 
wich on rye bread, two slices of im- 
ported Swiss cheese, a small dish of 
some kind of cooked fruit and a pot of 
black tea. 



80 



The Neiv Movie Magazine, September, 1932 



Edgar Wallace's 
Hollywood Diary 

(Continued from page 29) 

and mailed it to Carl. It will have the 
effect of getting it off my mind. 

I had a visit from the Los Angeles 
correspondent of the New York Times, 
who has been ordered to wire a thou- 
sand-word interview with me on what 
I think of Hollywood now that I have 
settled down here. Before he arrived 
I dictated the thousand words to Bob 
and it was exactly all he wanted. 

To-morrow, R.K.O. have got to take 
up my first option. I haven't heard 
from them yet, but I have no doubt 
that it will come through. Did I tell 
you I had got on to Evelyn Brent and 
asked her to dinner? She's having a 
party at the same place so I shall see 
her and it will cost me nothing! That's 
the kind of economist I am! 

I expect you're having a pretty anx- 
ious time about the play, and it will be 
rotten for you on the first night, being 
deprived of my encouraging presence! 

I am hoping still to get a good horror 
picture without corpses, and I am cer- 
tain that "Kong" is going to be a 
wow. 

Wednesday, 20th January, 1932. 

THERE was another party at Wal- 
ter Huston's last night. By the 
way, these are the only dinner parties 
I have been to yet where everybody 
dresses. Walter Huston's sister was 
there, Mrs. Carrington, a very remark- 
able woman. She has a house in Santa 
Barbara but she lives in the East. 
Between her and Walter is a very sin- 
cere affection, but he is a man of whom 
everybody is terribly fond of. 

Bobbie Jones was present — not the 
golfer but the man who designed the 
scenery and directed so many of Eu- 
gene O'Neill's plays, a very amusing 
fellow. He did "Desire Under the 
Elms" in which Walter Huston played. 
Also Dr. Ellis Jones, who is one of 
the three big bone specialists in Amer- 
ica. He expected to be called by 'phone 
and didn't even take a cocktail. 

We talked about ghosts through the 
meal and premonitions. It was a very 
interesting evening, though the party 
broke up a little sooner than last week, 
and I was home by half past twelve. 

In the course of the evening Walter 
called up Clark Gable, who lives in 
the same building 1 , with the idea of 
getting him down to their flat, but he 
was out. They say he's a terribly nice 
fellow and that success hasn't spoiled 
him. In one year he has become the 
biggest of all the screen attractions, 
and probably draws more money into 
the boxoffice than Greta Garbo. Nan 
said that beyond being a little dazed by 
his success he is unchanged. I shall 
probably meet him in the course of the 
next week or so. 

Thursday, 21st January, 1932. 

i HAD the shock of my life last night. 
i Joan Carr called me up and asked 
me if I'd like to dine with young Jesse 
Lasky and a woman whose name I 
forget, and I suggested the Brown 
Derby. Jesse Lasky turned out to be 
an awfully nice boy, terribly thought- 
ful and intelligent. I think I told you 
that his father, the Famous Players 
{Please turn to page 82) 




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Edgar Wallace's Hollywood 

Diary 



(Continued from page 81) 



Lasky, lost heavily in the big slump, 
and from enormous riches they have 
gone almost to comparative poverty. 
The boy is working at the Paramount. 

We got to a table and didn't like it, 
so we settled down at another. As we 
were talking I heard my name called, 
and, looking round, whom should I see 
but Heather Thatcher, screaming with 
laughter at my surprise! She was look- 
ing 1 wonderful and was dressed for some 
show. She was in New York just on 
the point of leaving- for home when 
M.G.M. wired her telling her to come 
back and make a picture with Bob 
Montgomery. Naturally, she is very 
elated. 

She was a little reproachful as to 
why I hadn't written to her, but as 
she hadn't given me her address or her 
telephone number, except the number 
I got when I was in New York, which 
I forgot, I hadn't even been able to 
send her a Christmas greeting. 

She said in a loud voice across the 
crowded room that she was going to 
tell my wife I was out with another 
woman, and was her own old self. I 
gave her my address and she is com- 
ing up to dinner or tea or something. 
It was grand to see her. She kissed 
me affectionately before the crowded 
restaurant and departed in a whirl, 
leaving behind her bag and her spec- 
tacle case, and returning in an even 
greater whirl to retrieve them. 

THE "lot" is lousy with New York 
executives and directors of banks 
and financial advisers. They drive 
slowly round the stages, or, as you 
would call them, studios, in large 
limousines. I haven't met any of them 
and it is unlikely that I shall. They 
will all be skipping back East next 
Monday and we shall probably settle 
down to do a bit of work. 

I sent Nan some flowers yesterday, 
and we are all meeting at her flat on 
Saturday night before the party to 
have a cocktail. 

Most of to-day has been taken up 
by chasing round to discover whether 
they are going to renew my contract. 
As you know, it is for eight weeks 
with an option for a further eight 
weeks at a higher rate. The trouble is 
apparently that they are having wild 
fits of economy, and there is just a pos- 
sibility that they may not on that ac- 
count take up the option. In this case 
I should come home in the last week 
of February or the beginning of March, 
either on the Europa on the 27th Feb- 
ruary, or the Berengaria on the 4th 
March. I sincerely hope I don't have 
to come, but I shall have wired you 
long before you receive this, telling 
you what are my plans. 

The trouble is that with all the New 
York executives, with the financiers and 
bankers who have put up the new 
money, being in Hollywood, and with 
conferences day and night on staffs 
and reconstruction, it is impossible to 
get anything coherent out of these 
people. It makes things rather un- 
settling. 

At the back of my mind I am pretty 
sure they will take up the option, be- 
cause I think that if economy was their 



trouble, they would have approached 
me and asked me to go on at the old 
rate or even at a smaller rate, and as 
most of the executives here are my per- 
sonal friends, I am sure this would 
have been done. 

Cooper, who is on the "general staff," 
told me that the matter had never been 
discussed, and in his opinion they have 
not the slightest idea that my option 
is due. My first period of eight weeks 
terminates to-morrow week. They 
have the right to keep me on for an- 
other two weeks to clear up anything 
I am doing or which is unfinished. 
There will be so many unfinished 
things by then that I am pretty cer- 
tain to go the extra two weeks. 

I lunched with Lee Marcus, and 
Kathleen Brown, his assistant, and 
Kenneth MacGowan was a fourth. He 
has come out to be story editor. He 
is a friend of Nigel's and was the man 
behind "Lean Harvest." His duties 
are rather nebulous at the moment. I 
expect to hear something tomorrow 
about myself. 

Saturday, 23rd January, 1932. 

T STILL have no satisfaction about 
*■ the renewal of my contract. 

They have had four stories, one of 
them quite good, two of them very good, 
but there is no department which re- 
ceives stories or reports on them or 
lets me know what is happening. With 
the exception of "Kong" I have no in- 
formation whatever as to the reactions 
of the people who have read them. 
"Kong" itself, although it has been 
written over a fortnight, has not been 
read by the chief executive! It is 
rather like living' in a madhouse. 

Now they want me to write a mys- 
tery story and turn it in by next week, 
and on that story they will decide 
whether they will continue my con- 
tract, which means that if it's a very 
good story they can say: "No, we 
won't give you a contract but we'll take 
the story because it has been written 
in our time." 

So I received your cable saying you 
had booked a provisional passage on 
the 24th with mixed feelings. 

I should hate to wire you not to come. 

Saturday. Later. 

T WENT down and had a talk with 
-*- Selznick. I am very anxious to pro- 
duce a picture and he promised me I 
should. 

It will be called "The Man Without 
a Face." 

He was very tired; he says he has 
had seven weeks of hell in this recon- 
struction period, a-nd he apologized for 
not having given me more time. Al- 
together it was a very satisfactory 
talk, for it was rather disturbing not 
to know what one was doing and to 
have all one's plans upset. 

The truth is that in this seven weeks 
I have not had a chance of proving my- 
self, and that is what I was most anx- 
ious to have. 

I met Richard Dix on the lot and we 
had a long talk about directors. 
(Please turn to page 83) 



82 



The New Movie Magazine, September, 1932 



Edgar Wallace's 
Hollywood Diary 

(Continued from page 82) 

Cooper is enthusiastic about my 
directing a picture, and he's got a great 
scheme, which he uses, of having every 
key shot drawn by an artist. 

I also met Joel McCrea and lunched 
with a big naval aeroplane designer, 
a friend of Cooper's, and his very 
charming young wife. 

Sunday, 24th January, 1932. 

f GAVE a dinner last night at the 
*■ Embassy to Walter Huston and Nan. 
Lee Marcus and his wife came along, 
and Cooper looked in later. I was very 
tired, but it was quite successful. 
Theda Bara and Fatty Ai-buckle were 
there, and I met Evelyn Brent. She is 
very charming. 

Your pictures have created quite a 
sensation with my domestic staff. 
Marie, the cook, ventured the opinion 
that I should never find anything in 
Hollywood as good-looking as you. I 
thought that would go well with you. 
And of course they are in ecstasies 
about Penny. (Mr. Wallace's young 
daughter.) I took them down to Wal- 
ter Huston's last night and showed 
them round, and they were generally 
admired. Even my barber, who came 
up to cut my hair, expressed the view 
that you were fine and dandy, so you've 
passed. 

To-day is simply glorious, and here 
am I working, though I don't exactly 
know what I should be doing if I 
weren't working. Sleeping perhaps. 

I have just called up Evelyn Brent 
on the 'phone and at two o'clock in 
the afternoon she certainly is sleeping. 
I am dining with her on Tuesday night, 
and I am dining with Walter Huston 
to-morrow night, just a private little 
dinner to talk over business possibili- 
ties, and I am dining with Bayard 
Veiller on Wednesday night, and din- 
ing with Guy and going to the premiere 
of Greta Garbo's new play on Thurs- 
day, and dining with Dr. Ellis Jones 
on Friday. On Saturday night I shall 
probably be dining out. 

Curiously enough, it is a week in 
which I had planned to do a lot of 
work. If I can get the work done in 
the day it won't matter, but on Tues- 
day I've got a lecture and lunch with 
the Advertising Club of Los Angeles. 

None of the Hollywood stars or even 
the feature players have their names 
in the telephone book. I suppose they 
get called up by their fans, and one 
has to go to all sorts of trouble to 
find out their addresses, because the 
telephone people will not tell you. The 
telephone system here is perfect. It 
is worked by the dial method, and you 
very rarely get a wrong number. If 
you want to call New York, three thou- 
sand miles awav, you don't even have 
to hang up. This is rather amazing. 
On ordinary days you can get through 
to England in about half an hour. 

It is rather a nuisance not having 
had letters from you for so long, be- 
cause I don't know what you are doing 
on Saturdays, for example. I am 
wondering if you are going over to 
Switzerland for the week-end, where 
Michael (a son) is and when he is 
going to have his tonsils out. I pre- 
sume you are bringing him on the 24th. 
(Please turn to page 84) 



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lipstick and Variety in Nail Tints. 

She varies her nail polish with her 
sports clothes the same as she does with 
her evening clothes. So she'll be just as 
smart by day as by night! 

And what an opportunity for alluring 
combinations . . . 

Coral nails with your white tennis 
dresses and little beige golf sweaters will 
give you a great big advantage. And 
aren't Rose nails with those dark blue 
swim suits making the beaches danger- 
ous! Do the toe tips, too, won't you? 

It's not a bad indoor game to work 
out your color schemes yourself. But if 
you're just too busy winning champion- 
ships, it's all worked out for you, any- 
way, in the panel above. 

And don't forget that Cutex, which is 
making records for smart color on two 
continents, has quality, too. It flows on 
with marvelous smoothness and lasting 
lustre, will not crack or peel no matter 
how active you get — nor fade in the sun. 
And for extra value it has a new bakelite 
top with the brush attached so that the 
tip will not touch your table top. Get 
your shades from your dealer today. 



ill Colors for sports, too! 
Use the shade that's best for 
each costume . . . says world 
authority on the manicure 

JN<llUr£tI slightly emphasizes the natu- 
ral pink of your nails. Goes with all cos- 
tumes but is best with bright colors — 
red, blue, green, purple, orange. 

1\0S6 Is a lovely feminine shade, good 
with any dress, pale or vivid. It is charm- 
ing with pastel pink, blue, lavender . . . 
smart with black and brown. 

CiOr3l nails are bewilderingly lovely with 
white, pale pink, beige, gray . . . black 
and dark brown. Smart with deeper 
colors (except red) if not too intense. 

CiOrOrleSS is conservatively correct at 
any time. Good for "difficult" colors! 



THE EASY CUTEX MANICURE . . . Scrub nails. 
Remove old cuticle and cleanse nail tips with 
Cutex Cuticle Remover & Nail Cleanser. Re- 
move old polish with Cutex Polish Remover. 
Brush on Cutex Liquid Polish. Then use Cutex 
Nail White (Pencil or Cream) and finish with 
Cutex Cuticle Oil or Cream. After every 
manicure, and each night before retiring, mas- 
sage hands with the new Cutex Hand Cream. 

Noetham Wabben, New York, Montreal, London, Paris 



2 shades of Cutex 
Liquid Polish and 
4 other manicure , 
essentials for 12$ 



CUTEX 




ONLY 35 



i 




NoRTHAM W ARREN, Dept. 2Z9 

191 Hudson Street . . . New York, N. Y. 

(In Canada, address Post Office Box 2320, Montreal) 

I enclose 12^ for the new Cutex Manicure Set, which in- 
cludes Natural Liquid Polish and one other shade which I 
have checked ... □ Rose □ Coral □ Cardinal 



The Neiv Movie Magazine, September, 1932 




Edgar Wallace's Hollywood 

Diary 



(Continued from -page 83) 



HAVE YOU 

Sleepy 
Lips? 




Whenever you want to 

look your best, wake up 

your lips. Rosy lipstick 

helps. But can't smooth out 

hard, unbecoming lines 

around your mouth.Only 

MOTHER NATURE'S 

beauty treatment which 

is CHEWING can lend 

a thrill and vitality to 

your lips which make 

them truly kissable. 

Try it. Chew double 

Mint just before your 

big date 

BUY a fresh package of 

DOUBLE MINT today. 

M-52 

IVE • SATISFYING 



Everybody's delighted to hear you are 
coming and there have been paragraphs 
in the newspaper about it! Where 
the information came from I am at a 
loss to know, but apparently they knew 
as soon as I did, even though they had 
the date wrong and fixed the 15th. 

Tuesday, 26th January, 1932. 

[ DINED with Walter Huston and 
* Nan last night. There were just us 
three. We talked about various things, 
and had a little business talk about a 
radio engagement he has been offered. 
It was very pleasant, and I left about 
a quarter past eleven. Walter im- 
proves every time you meet him, and 
Nan is very sweet. Walter is very 
gentle, and so is Nan, for the matter 
of that, but she's got a shrewder con- 
ception of actualities. 

When I went down to the studio 
yesterday and told Cooper I was get- 
ting on with my crime story, I inci- 
dentally mentioned another story I had 
in my mind. I think I told you about 
this yesterday; if I did, Bob will cut it 
out. He went up to the ceiling at the 
idea, said it was the swellest opening 
for a picture he'd ever heard, and I 
am working on it now. I will send 
you the complete scenario when I am 
through. 

My Constance Bennett scenario 
wasn't passed by the Constance Ben- 
nett section of R.K.O. They had about 
twenty stories to choose from and they 
chose another. As a matter of fact, I 
am learning a tremendous lot of what 
is required in motion pictures, not only 
the angles but the interests that the 
public wants, and when I get back I'll be 
able to give British Lion a real ripsnor- 
ter. Tell Sam that if you meet him. 

Wednesday, 27th January, 1932. 

I HAD a sleep in the late afternoon 
and at half past seven went up to 
Evelyn Brent's. Joan, who is a very 
close friend of Evelyn's, was there, and 
Lowell Sherman came in. I like 
Evelyn Brent tremendously. She 
thinks Chalklands (the Wallace coun- 
try home) one of the loveliest houses 
that she's ever been in. She is a very 
real person, terribly sane and without 
any hokum at all. We talked about 
various people in the film business. 
She was very anxious that if I directed 
a film I should give a chance to a gill 
who is under contract to M-G-M, who, 
she thinks, is a grand actress. Loweli 
Sherman agreed. He has played with 
her. Her name is Karen Morley. 
She's got a small part in "Mata Hari," 
if you see it